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ART 

AND  THE  GREAT  WAR 

By 

ALBERT  EUGENE  GALLATIN 


PAST  CHAIRMAN  COMMITTEE  ON  EXHIBITIONS,  DIVISION  OF 
PICTORIAL  PUBLICITY,  UNITED  STATES  GOVERNMENT 
COMMITTEE  ON  PUBLIC  INFORMATION.  PAST  CHAIR' 
MAN  COMMITTEE  ON  ARTS  &>  DECORATION, 

THE  MAYOR’S  COMMITTEE  ON  NATIONAL 
DEFENSE,  NEW  YORK.  AUTHOR  OF 
PORTRAITS  OF  WHISTLER, 

6?C. 


W ith  One  Hundred  Illustrations 

£ 


NEW  YORK 

E.  P.  DUTTON  & COMPANY 

1919 


COPYRIGHT,  I919,  BY  E.  P.  DUTTON  6s?  COMPANY 

ALL  RIGHTS  RESERVED 


PRINTED  IN  THE  UNITED  STATES  OF  AMERICA 


DEDICATED 


TO 


MY  MOTHER 


PREFACE 


THE  purpose  of  this  boo\  has  been  to  chronicle  the  part  played  in  the 
Great  War  by  painters,  illustrators,  etchers,  lithographers  and  sculp' 
tors,  acting  in  these  capacities.  Their  services  were  of  great  value  and  cer' 
tainly  deserved  to  be  recorded.  Speaking  of  the  service  rendered  by  the  art' 
ists,  the  Honorable  Carter  Glass,  Secretary  of  the  Treasury,  has  said: 
“ The  whole  civilized  world  owes  than\s  to  the  artists  of  America.  Future 
history  would  be  incomplete  without  adequate  recognition  of  the  mighty 
concrete  values  which  the  artists  of  the  war  wrung  from  the  fabrics  of  their 
dreams  and  devoted  to  the  rescue  of  humanity  from  further  bloodshed  and 
sacrifice 

I have  endeavored  to  show  what  the  artists  of  the  United  States,  Great 
Britain,  Canada  and  France  have  done,  both  in  depicting  scenes  at  the 
actual  front  and  behind  the  lines , in  recording  the  wor\  of  the  navies  and 
the  aviation  corps,  as  well  as  depicting  scenes  in  the  shipyards,  munition 
factories , industrial  plants  and  wor\on  the  land.  I have,  too,  tried  to 
show  the  important  service  rendered  by  the  poster  artist,  the  cartoonist 
and  the  camoufleur. 

With  regard  to  the  illustrations  appearing  in  this  boo\,  it  has  been  my 
endeavor  to  ma\e  them  record  as  many  phases  as  possible  of  the  Great  War, 
and  to  select  only  those  possessed  of  artistic  interest. 

Already  a considerable  literature  has  come  into  existence  concerning 
the  part  artists  played  in  the  Great  War;  in  my  bibliography  I have  re' 
corded  such  items  as  have  come  to  my  notice.  Many  of  these  items  I have 
consulted  in  the  preparation  of  the  following  pages. 

My  best  than\s  are  due  to  the  British  Bureau  of  Information  for  their 
courtesy  in  supplying  me  with  photographs  of  many  of  the  British  pictures. 
I wish  also  to  than\  Mr.  Eric  Brown,  Director  of  the  "National  Gallery 


of  Canada,  for  his  \mdness  in  sending  me  desired  information  concerning 
the  Canadian  War  Memorials.  To  Mr.  Paul  G.  Konody,  who  brought 
this  exhibition  to  7\ lew  Tor\ , I am  indebted  for  giving  me  several  photo' 
graphs  of  the  Canadian  paintings.  My  than\s  are  also  due  to  Mr. 
Duncan  Phillips  for  his  courtesy  in  placing  several  negatives  belonging 
to  him  at  my  disposal,  and  to  Mr.  H.  W.  Sage  for  permitting  me  to  re' 
produce  the  paintings  by  Mr.  Maxfield  Parrish,  of  which  he  is  the  owner. 


Bar  Harbor,  Maine,  August,  1919 


A.  E.  Gallatin 


CONTENTS 


Introduction 

Art  and  the  Great  War — Former  War  Pictures — Britishand  Canadian 
Records — America’s  Failure  to  Make  Adequate  Pictorial  Records — 
Art  Museums  and  the  War — American  Federation  of  Arts — National 
Arts  Committee — Mr.  Gallatin’s  Letter  to  the  President. 

Chapter  One:  The  United  States  of  America  31^56 

Division  of  Pictorial  Publicity — Posters — Official  Artists — Other  Art' 
ists  in  France — Records  Made  in  America — War  Pictures  Painted  in 
America  — Cartoons — Designation  T argets  — Sculpture  — Military 
Camouflage — Marine  Camouflage — New  York  Committee  on  Arts  and 
Decoration — Art  Committee  of  New  York  Liberty  Loan  Committee — 
Allied  War  Salon — Victory  Arch,  New  York;  Victory  Way  in  New 
York. 

Illustrations:  The  United  States  of  America  57*127 

Chapter  T wo  : Great  Britain  and  Canada  1 3 1 ' 1 4 3 

The  Excellent  Records  Possessed  by  Great  Britain  and  Canada — Official 
British  Artists — Lithographs  Depicting  Great  Britain’s  Efforts  and 
Ideals — Work  of  G.  Spencer  Pryse  and  other  Artists — Canadian  War 
Memorials;  Official  Australian  Artists. 

Illustrations:  Great  Britain  and  Canada  145*215 

Chapter  Three  : France  219*228 

Work  of  Steinlen  and  Forain — Lucian  Jonas  and  Henri  Farre — Other 
War  Pictures — Posters. 

Illustrations:  France  229*277 

Illustrations:  The  Netherlands  279*283 

285*288 


Bibliography 


LIST  OF  ILLUSTRATIONS 


THE  UNITED  STATES  OF  AMERICA 

George  Luks  The  " Blue  Devils"  Marching  Down  Fifth  Avenue.  Oil.  Reproduced  in  color.  Frontispiece 

George  Luks  Peace  Celebration  in  7Jew  Y or\.  Oil 

Spencer  B.  Nichols  The  Tan\er.  Oil 

Edwin  H.  Blashfield  Carry  On.  Oil 

Samuel  J.  Woolf  First  Aid  Station  at  Seicheprey.  Oil 

John  C.  Johansen  The  Launch  of  the  Watonwan.  Oil 

Henry  Reuterdahl  The  Destroyer  Patrol.  Oil 

Henry  Reuterdahl  The  Return  of  the  Victory  Fleet.  Drawing 

Childe  Hassam  Early  Morning  on  Fifth  Avenue,  May,  1917.  Oil 

George  Bellows  Murder  of  Edith  Cavell.  Lithograph 

George  Bellows  Massacre  at  Dinant.  Oil 

Maxfield  Parrish  Design  for  the  Red  Cross.  Oil 

Maxfield  Parrish  Design  for  the  Red  Cross:  Detail.  Oil 

Maxfield  Parrish  Design  for  the  Red  Cross : Detail.  Oil 

Harry  E.  Townsend  A Wounded  Tan\.  Drawing 

George  Harding  An  American' French  Conference  in  a Wine  Cellar;  Chateau'Thierry.  Drawing 

Walter  J.  Duncan  Cold  Rights  Coming  On.  Drawing 

Ernest  Peixotto  Troops  Leaving  Esnes,  September  23,  1918 

Harvey  Dunn  Kamarad — The  Sniper.  Drawing 

J.  Andre  Smith  On  Hill  204 — Southwest  of  Chateau'Thierry.  Drawing 

William  J.  Aylward  Troops  Waiting  to  Advance  at  Hatton-Chatel,  Meuse — S.  Mihiel  Drive.  Drawing 

Wallace  Morgan  Americans  Mopping  Up  in  Cierges.  Drawing 

Wallace  Morgan  Feed  a Fighter.  Poster 

Joseph  Pennell  Ready  to  Start.  Lithograph 

Joseph  Pennell  M a\ing  Armor  Plate  (England).  Lithograph 

Joseph  Pennell  That  Liberty  Shall  TJot  Perish  from  the  Earth.  Poster 

Boardman  Robinson  The  Serb.  Drawing 

Vernon  Howe  Bailey  The  Superdreadnoughts  7Jew  Tor\  and  Arizona.  Lithograph 
Thomas  Hastings  Victory  Arch,  7\ lew  Tor\ 

Paul  Manship  Jeanne  d'Arc  Medal 

Mahonri  Young  One  of  the  “ Buffaloes Bronze 

C.  B.  Falls  Boo\s  Wanted.  Poster 

Adolph  Treidler  Farm  to  Win  “ Over  There."  Poster 

W.  T.  Benda  For  Motherland  and  Freedom.  Poster 

Henry  Raleigh  Halt  the  Hun!  Poster 

George  Illian  Keep  it  Coming.  Poster 

George  Wright  Another  Ship — Another  Victory 

GREAT  BRITAIN 

William  Orpen  A Grenadier  Guardsman.  Oil.  Reproduced  in  color 
William  Orpen  Horses  Tfear  Aubigny.  Drawing 


William  Orpen 
William  Orpen 
William  Orpen 
William  Orpen 
Muirhead  Bone 
Muirhead  Bone 
Muirhead  Bone 
Muirhead  Bone 
Muirhead  Bone 
James  Me  Bey 
James  Me  Bey 


Bringing  in  a Wounded  Tommy.  Drawing 
The  Gas  M as\.  Drawing 
The  Big  Crater,  7Jo.  2.  Oil 
South  Irish  Horse.  Drawing 
A British  Tan\.  Drawing 

The  Bridge  of  a British  Merchant  Ship  at  Sea.  Drawing 
H.  M.  S.  Vindictive  after  Zeebrugge.  Drawing 
A Shipyard  Scene.  Lithograph 
Ready  for  Sea.  Lithograph 
Entry  of  the  Allies  into  Jerusalem.  Drawing 
Water  Transport.  Drawing 


Frank  Brangwyn 
G.  Spencer  Pryse 
G.  Spencer  Pryse 
G.  Spencer  Pryse 
G.  Spencer  Pryse 
G.  Spencer  Pryse 


James  Me  Bey  Detraining  a Howitzer  by  Moonlight.  Drawing 
C.  R.  W.  Nevinson  That  Cursed  Wood.  Oil 
C.  R.  W.  Nevinson  After  a Push.  Lithograph 
C.  R.  W.  Nevinson  The  Road  from  Arras  to  Bapaume.  Lithograph 

C.  R.  W.  Nevinson  Swooping  on  a Taube.  Lithograph 
John  La  very  A Coast  Defense.  Oil 

Paul  Nash  Sunrise:  Inverness  Copse.  Drawing 

Eric  Kennington  A Lewis  Gunner  of  a Yorkshire  Regiment.  Drawing 

Charles  Pears  Maintaining  Oversea  Forces.  Lithograph 

Edmund  Dulac  Poland,  a TJation.  Lithograph 

Charles  H.  Shannon  The  ReFirth  of  the  Arts.  Lithograph 

Frank  Brangwyn  The  Loo\out.  Lithograph 

Put  Strength  in  the  Final  Blow.  Poster 
The  Fall  of  Ostend.  Lithograph 
The  Wayside  Crucifix — Belgium,  1914.  Lithograph 
The  Only  Road  for  an  Englishman.  Poster 

The  Retreat  of  the  Seventh  Division  and  Third  Cavalry  on  Ypres.  Lithograph 
Belgium,  1914 
Jacob  Epstein  The  Tin  Hat.  Bronze 

CANADA 

Norman  Wilkinson  Canada’s  Answer 

A.  J.  Munnings  Horses  Watering  JJear  Domart 

D.  Y.  Cameron  Flanders  from  Kemmel 

Leonard  Richmond  Canadian  Railway  Construction  in  France 
P.  Wyndham  Lewis  Canadian  Gunpit 

FRANCE 

J.  L.  Forain  The  Prisoner.  Lithograph.  (From  a poster) 

J.  L.  Forain  Forward!  Lithograph 

J.  L.  Forain  What  ? Not  Even  a Child ! Lithograph 

J.  L.  Forain  — It  is  a TJeutral 

— Ah  ! ...  I Breathe.  Lithograph 
Th.  A.  Steinlen  LAisne  D'evastee.  Poster.  Reproduced  in  color 
Th.  A.  Steinlen  Aid  to  the  Wounded.  Lithograph 
Th.  A.  Steinlen  Under  the  Boot.  Lithograph 
Th.  A.  Steinlen  Concert  en  Grange.  Poster 
Th.  A.  Steinlen  La  Triennale.  Poster 


Th.  A.  Steinlen  Leaving  the  German  Jail.  Lithograph 

Lucien  Jonas  A Volunteer.  Lithograph 

Lucien  Jonas  Portraits  of  General  Pershing.  Drawings 

Pierre  Auguste  Renoir  Portrait  of  His  Son,  Wounded  in  the  War.  Drawing 

Hermann  Paul  The  American  Hymn.  Lithograph 

Benito  For  the  Beautiful  Land  of  France.  Lithograph 

Benito  The  Conquerors  of  the  Marne.  Lithograph 

Benito  The  Heart  of  America.  Lithograph 

Henri  Farre  Bombing  Ffancy.  Oil 

Antonin  Mercie  Plaquette  de  la  Fraternite  des  Artistes.  Gilded  bronze 
“Sem”  Pour  le  Dernier  Spiart  d’Heure.  Poster 
“Sem”  Pour  le  Triomphe  Souscrivez  a VEmprunt  Rational.  Poster 
Georges  Scott  Pour  le  Drapeau ! Pour  la  Victoire ! Poster 
Abel  Faivre  On  les  Aura!  Poster 
Abel  Faivre  L’Or  Combat  Pour  La  Victoire.  Poster 
Adolphe  Willette  Journees  Girondines.  Poster 

Francisque  Poulbot  — Ffouhlie  pas  de  souscrire  . . . pour  la  Victoire!  . . . etle  retour!  Poster 

THE  NETHERLANDS 

Louis  Raemaekers  Cleansing  the  Temple.  Lithograph 

Louis  Raemaekers  The  American  Army  in  France — The  Relief.  Pencil  and  water'color 


v_ 


ART  AND  THE  GREAT  WAR 


INTRODUCTION 

N the  prosecution  of  the  Great  War,  and  bringing  about 
ultimate  vidtory,  the  artists  of  the  United  States  and  the 
allied  countries  played  a very  important  part.  This  was  the 
first  war  artists,  as  such,  were  used  by  their  governments, 
and  art  became  a powerful  weapon. 

To  the  artists  was  intrusted  the  extremely  important  task  of  organ- 
iz;ing  the  camouflage  corps  of  the  armies,  and  on  their  shoulders  also  fell 
the  work  of  developing  the  art  of  marine  camouflage,  both  of  which  tasks 
they  did  with  marked  success.  In  the  recruiting  of  troops  and  in  the 
raising  of  government  loans,  as  well  as  for  many  other  purposes,  in- 
cluding relief,  the  artists  through  their  posters  rendered  a very  notable 
service.  The  cartoonist  was  a powerful  moulder  of  public  opinion  and 
it  has  been  truthfully  said  of  M.  Louis  Raemaekers,  the  great  Dutch 
artist  and  cartoonist,  that  “no  oration,  no  literature,  no  art,  has  brought 
the  real  meaning  of  the  war  home  so  convincingly 11  as  his  cartoons.  As 
will  be  brought  out  in  the  following  pages,  the  artist  also  contributed 
in  many  other  ways  towards  bringing  the  war  to  a successful  conclusion. 

Somewhere  I have  come  across  the  statement  that  James  Gillray, 
the  English  caricaturist,  and  Philippe  Jacques  de  Loutherbourg  were 
sent  to  Flanders  in  1793  to  commemorate  the  military  exploits  of  the 
Duke  of  York.  The  latter  artist  was  at  one  time  court  painter  in  France 
and  afterwards,  going  to  England,  was  elected  a member  of  the  Royal 
Academy.  Garrick  employed  him  to  design  scenery  and  he  also  painted 
several  works  dealing  with  military  and  naval  episodes.  Aside  from  this, 
as  far  as  is  known,  the  Great  War  was  the  first  to  be  officially  recorded 
by  artists.  This  innovation  is  one  that  the  historian  and  posterity  will 


certainly  welcome,  for  pictures,  far  more  adequately  than  the  written 
word,  were  capable  of  recording  the  great  conflict. 

The  Great  War  was  waged  to  a large  extent  with  explosives  and  ma- 
chinery— very  different  from  the  individual  combat  which  the  soldier 
of  ancient  Greece  engaged  in  when  he  went  into  battle.  It  is  a far  cry 
from  the  athletic  figures  of  Greek  warriors  on  the  frieze  of  the  Parthe- 
non to  Mr.  C.  R.  W.  Nevinsons  painting  which  shows  three  men  work- 
ing a mitrailleuse  down  in  a trench,  barbed  wire  silhouetted  against  the 
sky.  These  three  men  are  a part  of  their  machine. 

The  hideousness  and  horror  of  modern  trench  warfare  is  also  far  re- 
moved from  the  pageantry  and  splendor  of  warfare  in  the  Middle  Ages 
— it  is  vastly  different  also  from  the  comparatively  picturesque  and 
open  warfare  of  the  Napoleonic  epoch.  War  pictures  of  to-day  have  al- 
most no  roots  in  the  past;  the  pictorial  recorder  of  modern  warfare  has 
had  no  sign-posts  to  guide  him.  For  one  thing,  for  the  first  time  land- 
scape formed  an  important  feature  of  the  war  picture. 

Leonardo  da  Vinci  made  many  designs  for  fortifications  and  vari- 
ous implements  of  warfare;  those  familiar  with  Ravaisson-Mollien’s 
folio  volumes  of  facsimiles  of  Leonardo’s  manuscripts  will  remember 
that  he  even  made  a design  for  an  aeroplane.  Whatever  our  own  opinion 
may  be  in  the  matter,  we  must  remember  that  Leonardo  always  main- 
tained that  he  had  attained  greater  excellence  as  an  engineer  than  as  a 
painter  or  a sculptor,  and  it  is  in  this  character,  rather  than  as  an  artist, 
that  his  services  were  of  value  to  his  country.  The  same  is  true  of 
Michelangelo,  who  was  possessed  of  similar  accomplishments.  The 
battle  pictures  of  these  two  artists  have  perished. 

One  recalls  the  decorative  and  gorgeous  battle  pictures  of  Paolo 
Uccello  and  Raphaels  Battle  of  Constantine.  Such  gay  panoramas  as 
these  are  very  different  from  the  trench  warfare  of  the  Great  War. 
Durer  was  also  interested  in  depicting  military  matters;  a work  by  him 
printed  in  Nuremberg  in  1527  contains  many  engravings  of  fortifica- 
tions, cannon  and  various  military  objects,  which  he  drew  on  the  wood. 


Velasques’s  Surrender  of  Breda  is  the  greatest  military  picture  ever 
painted. 

The  horrors  of  war  were  truthfully  and  graphically  set  down  by  Cal- 
lot  and  by  Goya  in  their  powerful  etchings.  The  great  Russian  painter  of 
warfare,  Verestchagin,  also  completely  stripped  war  of  its  glamor. 

The  paintings  of  Gerard  and  Gros  are  simply  glorifications  of  Na- 
poleon;  as  transcripts  of  actual  warfare  they  are  almost  valueless.  The 
lithographs  of  Charlet  and  Raffet  are  full  of  authority.  Afterwards 
in  France  came  the  paintings  of  the  Franco-Prussian  War  by  Detaille, 
who  is  always  rather  cold,  and  by  de  Neuville — mere  anecdotes.  Of 
the  studio-painted,  and  as  regards  detail,  miniature-like  paintings,  of 
Meissonier,  one  agrees  with  Courbet  (or  was  it  Degas?)  who  said  that 
everything  is  of  steel  excepting  the  cuirasses.  It  is  most  curious  that 
such  a military  people  as  the  French  should  have  failed  to  get  this  en- 
thusiasm for  things  military  into  their  art. 

The  greatest  possible  credit  is  due  the  British  and  Canadian  Govern- 
ments, as  well  as  to  the  Commonwealth  of  Australia,  for  the  splendid 
manner  in  which  they  went  about  obtaining  pidtorial  records  of  the 
war.  They  sent  their  best  artists  to  the  front  and  these  artists  covered 
all  phases  of  the  war  in  a most  thoroughgoing  and  masterly  fashion. 
France  also  had  her  official  artists  and  like  Great  Britain  and  Canada  is 
to  have  a permanent  war  museum  of  pictures.  That  the  government  of 
the  United  States  did  not  realise  the  great  importance  of  this  work  is  cer- 
tainly most  regrettable  and  a serious  reflection  upon  the  vision  and  in- 
telligence of  those  responsible.  A few  of  our  illustrators,  it  is  true,  were 
despatched  to  France  to  make  a pictorial  record  of  our  military  activi- 
ties, but  their  drawings,  for  the  most  part,  are  rather  commonplace. 
Alongside  of  the  paintings  and  drawings  by  Sir  William  Orpen,  Mr. 
Nevinson,  Messrs.  John  and  Paul  Nash,  the  drawings  by  Messrs.  Bone 
and  McBey,  the  paintings  by  Sir  John  Lavery  and  all  the  rest  of  the 
able  works  executed  for  the  British  and  Canadian  Governments,  they 
appear  very  feeble,  indeed.  Why  were  not  such  of  our  painters  as  Messrs. 


Childe  Hassam,  Sargent,  George  Luks,  George  Bellows,  William  J. 
Glackens,  Gifford  Beal  and  Rockwell  Kent  in  France  recording  the 
life  of  our  men  and  their  part  in  the  great  conflict?  And  Mr.  John  C. 
Johansen  to  paint  the  great  docks  and  railway  systems  built  by  the 
Engineer  Corps?  It  was  the  purpose  of  the  War  Department  not  to  send 
painters,  but  illustrators  who  had  the  capacity  for  recording  impres- 
sions and  whose  work  was  suitable  for  reproduction  in  the  press.  This 
was  a mistake.  Even  as  drawings  suitable  for  publication  in  the  press  the 
pictures  were  not  a success,  as  is  shown  by  the  fact  that  out  of  one 
hundred  and  ninety  "six  drawings  offered  to  the  magazines  only  fifty-one 
were  accepted  for  publication. 

Why  was  not  Lieutenant'Commander  Henry  Reuterdahl  with 
our  overseas  fleet?  And  Mr.  Paul  Dougherty,  the  famous  marine 
painter,  both  of  whom  undoubtedly  would  have  painted  some  stirring 
pictures  of  the  dangers  and  tragedies  and  heroism  attending  those  who 
fought  the  cowardly  monsters  which  infested  the  deep? 

America  has  no  pictorial  record  of  the  wonderful  achievements  of 
her  navy  during  the  Great  War.  It  was  the  same  in  the  Spanish" Amen 
ican  War,  of  which  there  is  not  a single  record  of  the  navy’s  many 
achievements,  some  of  them  of  a spectacular  nature.  Every  foreign  coun" 
try  knew  the  value  of  propaganda  and  made  particular  efforts  to  tell  their 
people  what  their  working  forces  were  doing.  Our  Navy  Department 
has  recorded  nothing  at  all.  It  looks  very  much  as  if  the  authorities 
wished  to  keep  the  work  of  the  navy  anonymous. 

Admiral  Sims  and  the  chairman  of  the  Committee  on  Public  Infon 
mation  both  made  strong  recommendations  to  the  Navy  Department 
that  Lieutenant"Commander  Reuterdahl  be  sent  abroad  to  depict  the 
activities  of  our  fleet.  As  a matter  of  fact,  he  entered  the  navy  for  this 
express  purpose.  Admiral  Sims  knew  of  Lieutenant'Commander  ReU' 
terdahl’s  long  association  with  the  navy  and  of  his  ability  to  portray 
her  achievements.  He  also,  doubtless,  realized  what  an  inspiration  to 
the  youth  of  the  land  a series  of  paintings  by  this  artist  would  be  if  hung 

[-4] 


in  the  Naval  Academy  at  Annapolis.  The  Secretary  of  the  Navy,  how- 
ever,  apparently  thought  otherwise.  It  makes  one  sad  to  consider  this 
amazing  situation. 

Why,  too,  has  our  government  no  plans  for  a museum  in  which  to 
house  pictorial  records  of  the  war?  Even  Australia  has  done  this.  The 
National  Museum  at  Washington  has  made  a collection  of  posters,  but 
that  is  all.  Possibly  the  drawings  made  by  our  official  artists  may  also 
be  deposited  there,  but  even  this  is  undecided. 

Credit  is  due  to  the  Library  of  Congress  for  their  foresight  in  asserm 
bling  a large  and  representative  collection  of  posters  and  cartoons  on 
the  war.  In  this  collection  are  posters  issued  by  the  American  Govern" 
ment  for  recruiting,  relief  and  for  the  special  purposes  of  the  Depart' 
ments  of  Agriculture,  Commerce,  Labor,  State,  Navy,  Treasury  and 
War,  many  hundreds  in  number.  Included  also  are  the  posters  issued  by 
the  Food  Administration,  the  War  Finance  Committee  and  many  other 
organisations.  Very  comprehensive  collections  of  broadsides,  posters, 
cartoons  and  lithographs  from  Great  Britain,  Canada  and  France  have 
also  been  made,  as  well  as  smaller  ones  from  Italy,  Germany,  Poland  and 
Russia.  Many  special  exhibitions  have  been  shown,  including  the  car" 
toons  of  M.  Raemaekers,  the  lithographs  of  M.  Lucien  Jonas,  the  set 
of  lithographs  depicting  Great  Britain's  efforts  and  ideals,  and  various 
posters  and  medals.  Mr.  Charles  Moore,  chairman  of  the  National 
Commission  of  Fine  Arts,  had  much  to  do  with  the  collecting  of  this 
material.  It  is  also  a pleasure  to  note  that  the  New  York  Public  Library 
has  formed  a splendid  collection  of  about  two  thousand  war  posters, 
very  comprehensive  in  its  scope. 

A word  here  regarding  the  influence  of  the  war  on  the  various  art 
museums  of  the  country  may  not  be  out  of  place.  No  museum  in  the 
country  rendered  such  a notable  service  to  the  community  as  the  Art 
Institute  of  Chicago,  where  the  attendance  was  much  larger  than  dur" 
ing  peace  times;  one  million,  one  hundred  and  thirty  "two  thousand 
persons  visited  their  galleries  during  1918.  One  hundred  and  twenty'six 


war  meetings  of  various  kinds  were  held  within  the  building,  numerous 
exhibitions  during  the  course  of  the  war  helped  to  give  an  understand' 
ing  as  to  what  was  taking  place  in  Europe,  students  and  instructors  in 
the  Art  School  gave  much  of  their  time  to  the  making  of  posters,  the 
Middle  West  Department  of  the  Division  of  Pidtorial  Publicity  was 
organised  at  the  Art  Institute,  whose  steps  were  a scene  of  almost  daily 
meetings  and  where  thousands  of  people  met  in  connection  with  varh 
ous  “drives.11  A notable  collection  of  the  best  of  the  war  posters  was 
made  by  the  Institute;  it  cooperated  with  the  government  in  every 
possible  way  in  helping  to  win  the  war.  This  alliance  of  art  with  the 
state  and  the  people,  which  finds  its  most  perfedt  expression  in  France, 
should  be  continued,  for  art  is  not  exclusively  for  the  connoisseur.  That 
the  director  of  the  Metropolitan  Museum  of  Art  took  a firm  stand 
against  art  connected  with  the  war  entering  the  portals  of  this  institu' 
tion  will  always  arouse  curiosity.  The  attendance  at  the  Metropolitan 
Museum  of  Art  in  1918  was  only  a little  more  than  half  that  of  the  Art 
Institute  of  Chicago — and  the  population  of  New  York  is  about  double 
that  of  Chicago. 

Great  credit  is  due  Mr.  John  W.  Beatty  for  his  enterprise  in  obtain' 
ing  many  of  the  chief  exhibits  contained  in  the  Allied  War  Salon  which 
was  held  in  New  York  in  December,  1918,  for  the  Carnegie  Institute  of 
Pittsburgh,  of  which  he  is  the  Director  of  Fine  Arts.  It  is  a pleasure  also 
to  pay  a tribute  to  the  admirable  work  done  by  Mr.  Duncan  Phillips 
in  agitating  the  value  of  art  to  the  government  in  the  prosecution  of 
the  war,  for  his  work  in  helping  to  get  up  the  Allied  War  Salon  and  for 
his  cooperation  with  the  American  Federation  of  Arts  in  arranging 
numerous  exhibitions  of  war  pictures,  which  were  shown  throughout 
the  country.  In  addition  to  arranging  these  ambulant  exhibitions,  which 
did  much  to  stimulate  patriotism  throughout  the  country,  the  American 
Federation  of  Arts  organised  a strong  committee  on  war  memorials, 
of  which  the  Honorable  William  H.  Taft  is  honorary  chairman, 
Mr.  Charles  Moore  is  chairman  and  Mr.  Robert  W.  de  Forest  is  vice' 


chairman.  Miss  Leila  Mechlin,  the  secretary  of  the  Federation,  who 
was  very  active  in  arranging  the  exhibitions  of  war  pictures,  is  secret 
tary  of  this  committee.  In  the  first  chapter  of  my  book  I have  noted 
the  admirable  work  done  by  Mr.  Charles  Dana  Gibson  and  Mr.  F. 
D.  Casey  in  organising  the  poster  artists  of  the  country. 

At  about  the  time  that  this  book  is  to  go  to  press  there  comes  the  an" 
nouncement  that  the  newly  formed  National  Arts  Committee  has  sent  a 
number  of  portrait  painters  to  Paris  to  paint  many  of  the  military  and 
civil  leaders  of  the  Great  War.  This  is  indeed  good  news.  The  Amer" 
ican  Peace  Commissioners  have  endorsed  the  projedt,  of  which  Mr. 
Henry  White  is  acting  as  honorary  chairman. 

This  group  of  portraits,  which  is  to  be  presented  to  the  nation  and 
deposited  in  the  new  National  Portrait  Gallery  in  Washington,  is  being 
painted  by  Messrs.  Joseph  De  Camp,  Edmund  C.  Tarbell,  John  C.  Jo 
hansen,  Douglas  Volk,  Irving  R.  Wiles,  Charles  S.  Hopkinson,  Miss 
Cecilia  Beaux  and  Jean  McLane  [Mrs.  John  C.  Johansen].  Mr.  Jos" 
eph  De  Camp  is  painting  the  Peace  Table. 

Mr.  Herbert  L.  Pratt  is  secretary  and  treasurer  of  the  National  Arts 
Committee,  which  includes  in  its  membership  Messrs.  J.  P.  Morgan, 
Henry  C.  Frick,  Robert  W.  de  Forest  and  Mrs.  E.  H.  Harriman.  Pa" 
triotic  citizens  in  various  cities  besides  New  York  have  also  contributed 
towards  the  expenses  of  this  undertaking. 

A few  days  previous  to  the  announcement  of  the  National  Arts  Com" 
mittee  [29th  May,  1919]  the  following  letter  was  sent  by  the  writer 
to  the  President  of  the  United  States,  adting  on  behalf  of  a number  of 
artists  and  persons  interested  in  art: 

“ A group  of  Americans  who  realized  the  importance  of  art  as  a 
national  asset,  and  who  are  deeply  stirred  by  the  example  of  Great 
Britain,  France,  Canada,  Italy  and  Australia  in  sending  their  best 
artists  to  the  front  to  create  permanent  and  national  records  of  the 
war,  its  heroism,  sacrifice  and  suffering,  have  deputed  me  to  send 
you  this  letter. 


We  deplore  the  fad:  that  thus  far  very  little  has  been  done  to 
bring  before  present  and  future  generations  of  Americans  the  great 
and  inspiring  part  our  country  played  in  the  war.  We  urge  that  a 
number  of  our  leading  artists  be  sent  abroad  immediately  to  paint 
from  adtual  observation  our  historic  battlefields,  portraits  of  our  army 
and  navy  leaders,  of  our  soldiers,  the  life  of  our  Army  of  Occupa- 
tion  on  the  Rhine,  the  scenes  of  war,  the  stupendous  results  of  our 
efforts  in  engineering,  railway  building,  hospital  equipment,  shipping 
and  all  other  branches  of  our  war  activity. 

We  also  regret  deeply  that  we  have  missed  the  opportunity  of 
gaining  the  services  of  our  greatest  painter,  Sargent,  who  has  just 
painted  for  the  British  Government  a monumental  war  canvas. 

It  may  be  too  late  to  paint  incidents  of  warfare,  but  modern  war 
consists  not  merely  of  fighting.  There  are  still  immense  fields  to  be 
covered  if  immediate  adtion  be  taken.  We  appeal  to  you,  therefore, 
for  approval  of  such  a projedt.  The  inspiring  Canadian  example  proves 
that  a national  memorial  of  this  kind  can  be  created  without  the 
financial,  though  not  without  the  moral  and  practical  support  of  the 
government.  The  success  of  such  a projedt  would  mean  the  presenta' 
tion  to  our  government  of  the  finest  kind  of  a war  memorial. n 

At  my  suggestion  the  National  Arts  Committee  agreed,  upon  certain 
conditions,  to  broaden  the  scope  of  its  activities  and  to  have  at  least  a 
few  pictures  painted  of  the  description  that  I suggested  in  my  letter  to 
the  President.  Unfortunately,  however,  I was  unable  to  bring  this  about. 


UNITED  STATES  OF  AMERICA 


GEORGE  LUKS 

The  “Blue  Devils”  Marching  Down  Fifth  Avenue 


CHAPTER  ONE 

UNITED  STATES  OF  AMERICA 

ITH  reference  to  the  inspiring  opportunity 
given  to  the  painters,  sculptors,  illustrators  and 
cartoonists  of  the  country  by  the  war,  one 
critic  has  written:  “Never  since  the  Middle 
Ages,  when  the  church  taught  its  lessons  by 
means  of  pictures  to  people  who  could  not 
read  the  written  word,  has  art  been  called 
upon  to  serve  in  so  many  ways.”  It  is  gratify' 
ing  to  know  that  the  artists  of  America  came  forward  with  an  eagerness 
to  serve  the  country  that  was  not  excelled  by  any  other  group.  More 
than  that,  all  of  the  drawings  and  posters  which  they  made  for  the 
government  were  presented,  as  gifts.  It  is  a pleasure  to  pay  a tribute 
to  the  splendid  spirit  of  patriotism  shown  by  these  men. 

The  Division  of  Pidtorial  Publicity  of  the  Committee  on  Public  In' 
formation,  of  which  committee  Mr.  George  Creel  was  chairman  and 
the  Secretary  of  State,  the  Secretary  of  War  and  the  Secretary  of  the 
Navy  were  members,  was  established  shortly  after  America’s  entrance 
into  the  Great  W ar.  This  was  done  at  the  urgent  request  of  Mr.  Charles 
Dana  Gibson  and  a body  of  American  illustrators.  Mr.  Gibson  was 

[33] 


THE 


chosen  to  be  chairman  of  the  Division  of  Pidtorial  Publicity;  his  asso- 
ciates  were  Mr.  F.  D.  Casey,  who  was  vice-chairman,  and  Messrs. 
F.  G.  Cooper,  Charles  B.  Falls,  Louis  Fancher,  Henry  Reuterdahl, 
C.  D.  Williams  and  Robert).  Wildhack. 

The  function  of  the  Division  of  Pidtorial  Publicity  consisted  in  supply' 
ing  the  various  departments,  bureaus  and  commissions  of  the  govern- 
ment with  every  form  of  pidtorial  publicity  that  they  desired.  Member- 
ship in  it  was  unlimited;  any  individual  who  expressed  a desire  to  carry 
out  such  work  as  was  required  by  the  government  automatically  be- 
came a member. 

The  headquarters  of  the  Division  were  at  200  Fifth  Avenue,  New 
York,  with  sedtional  branches  in  Chicago,  Boston  and  San  Francisco. 
The  New  York  division  met  once  a week,  at  which  meetings  requests 
from  the  government  for  various  designs  were  read.  The  drawings  sub- 
mitted were  passed  upon  by  the  chairman  and  his  associates  and  then 
sent  to  Washington  for  final  approval.  That  the  officials  in  Washing- 
ton had  the  privilege  of  selecting  the  designs,  instead  of  the  artists,  was 
of  course  most  unfortunate.  This  most  unfair  system  accounted  for 
the  issuing  of  several  thoroughly  inartistic  Liberty  Loan  posters — the 
choice  of  the  Treasury  officials. 

From  its  inception  on  17th  April,  1917,  until  the  15th  of  November, 
1918,  the  Division  of  Pictorial  Publicity  made  for  the  government  and 
various  patriotic  societies  and  committees,  fifty-eight  in  number,  seven 
hundred  posters,  two  hundred  and  eighty-seven  cartoons  and  four  hun- 
dred and  thirty-two  cards  and  designs  for  newspaper  advertising.  Be- 
sides the  various  departments  of  the  government,  these  designs  were 
used  by  such  organizations  as  the  Red  Cross,  the  Shipping  Board,  the 
American  Library  Association,  the  Y.  M.  C.  A.,  the  Y.  W.  C.  A.  and  the 
Salvation  Army. 


[34] 


As  a matter  of  record,  the  names  of  the  associate  chairmen  and  the 
executive  committee  are  here  appended: 

Associate  Chairmen 


HERBERT  ADAMS 

FRANCIS  C.  JONES 

E.  H.  BLASHFIELD 

ARTHUR  F.  MATHEWS 

RALPH  CLARKSON 

JOSEPH  PENNELL 

CASS  GILBERT 

EDMUND  C.  TARBELL 

OLIVER  D.  GROVER 

DOUGLAS  VOLK 

Executive  Committee 

F.  G.  COOPER 

W.  A.  ROGERS 

N.  POUSETTE'DART 

HENRY  REUTERDAHL 

I.  DOSKOW 

JACK  SHERIDAN 

F.  E.  DAYTON 

H.  SCOTT  TRAIN 

C.  B.  FALLS 

H.  D.  WELSH 

A.  E.  GALLATIN 

J.  THOMSON  WILLING 

RAY  GREENLEAF 

H.  T.  WEBSTER 

MALVINA  HOFFMAN 

WALTER  WHITEHEAD 

II 

Owing  to  the  efforts  of  the  Division  of  Pictorial  Publicity,  the  posters 
issued  by  our  government  in  time  became  very  creditable.  In  the  be' 
ginning  of  the  war  our  posters  were  extremely  crude  and  inartistic  and 
consequently  made  but  a small  appeal.  This  was  owing  to  the  fact  that 
the  various  departments  of  the  government,  with  an  appalling  igno' 
ranee  of  all  things  artistic,  merely  gave  orders  to  commercial  firms  of 
lithographers  to  turn  out  posters  and  other  forms  of  pictorial  publicity, 
without  thought  of  the  artists  at  all. 

Innumerable  posters  were  required  by  the  government  for  Liberty 
Loan,  War  Savings  Stamp,  Red  Cross  and  other  “drives,”  for  recruiting 
purposes,  to  urge  the  conservation  of  certain  foods,  as  well  as  coal,  to 
speed  up  shipbuilding  and  for  dozens  of  other  purposes.  An  anonymous 
author  has  written:  “To  build  morale,  to  spiritually  awaken  the  nation, 

[35] 


to  stimulate  concentrated  effort,  to  quicken  every  war  activity,  the 
government  employed  art  in  the  form  of  pictorial  publicity  for  the  first 
time  and  on  a grand  scale.  This  campaign  may  be  described  as  ‘The 
Battle  of  the  Fences.’  ” 

The  artists  went  to  the  government  and  offered  their  services,  and 
without  recompense,  and  it  was  only  after  considerable  opposition 
that  their  services  were  accepted. 

The  best  men  in  the  country  were  mobilized  by  Mr.  Gibson’s  and 
Mr.  Casey’s  committee,  and  considering  that  we  had  but  few  real  poster 
artists  in  this  country,  owing  to  the  fact  that  technical  schools  in  Amer- 
ica  are  almost  non-existent,  the  results  obtained  by  many  of  these  men 
were  excellent. 

Twenty  years  ago  the  artistic  poster  enjoyed  a wide  vogue  in  Great 
Britain,  in  France  and  in  this  country.  Many  elaborate  books  were  is- 
sued on  the  subject,  magazines  devoted  to  posters  were  published,  large 
exhibitions  were  arranged,  and  hundreds  of  collections  were  formed. 
Then  the  interest  in  posters  died  out.  But  many  of  these  lithographs 
will  always  hold  an  honorable  place  in  the  portfolios  of  the  amateur  and 
the  museum.  In  France  the  lithographs  used  for  advertising  purposes 
which  were  drawn  by  Toulouse-Lautrec  and  M.  Steinlen  rank  among 
the  most  notable  graphic  work  of  their  time.  Cheret,  Mucha  and 
Grasset  also  produced  work  which  will  live.  In  England  notable  work 
was  done  by  Mr.  William  Nicholson,  Mr.  James  Pryde  and  Aubrey 
Beardsley,  while  many  extremely  fine  posters  were  executed  in  Amer- 
ica, notably  by  Messrs.  Maxfield  Parrish  and  Edward  Penfield.  Then 
the  Great  War  came  along  and  with  it  the  renaissance  of  the  poster. 
Once  more,  as  in  the  Middle  Ages,  art  became  the  property  of  the  peo- 
ple, as  it  should  be,  and  not  ticketed  specimens  in  a tomb-like  museum. 

The  effective  poster  is  the  simple  poster,  and  one  that  tells  its  story 
in  unmistakable  terms.  It  must,  too,  have  been  drawn  by  a master  crafts- 
man, one  with  a knowledge  of  design,  a proper  feeling  for  color  and 
power  of  conception.  It  is  because  possessed  of  those  qualities  that 

[36] 


the  Books  Wanted  poster  of  Mr.  C.  B.  Falls  ranks  with  the  best  of  our 
war  posters.  Mr.  Falls  designed  several  other  excellent  posters,  include 
ing  three  entitled  The  Camp  Library  is  Yours,  New  York  Decorators’ 
Fund,  and  E-E-E-Yah-Yip. 

On  the  whole,  I should  say  that  the  most  notable  series  of  posters  de^ 
signed  by  one  man  in  America  are  those  of  Mr.  Adolph  Treidler.  All 
of  his  lithographs  are  conceived  and  drawn  in  exactly  the  manner  true 
posters  should  be  made.  The  poorly  drawn  sketches  by  Messrs.  How- 
ard Chandler  Christy  and  Harrison  Fisher  and  others  of  our  popular 
illustrators,  were  not  posters  at  all.  Neither  was  the  altogether  absurd 
Greatest  Mother  in  the  World  “poster.”  It  is  possible,  of  course,  that 
such  designs  as  these  appealed  to  certain  intellects,  and  thereby  served 
their  purpose.  Among  Ml.Treidler’s  many  very  successful  posters  may 
be  singled  out  his  twenty-four  sheet  lithograph  urging  the  purchasing  of 
war  savings  stamps,  which  shows  a gun  in  action,  Have  You  Bought 
Your  Bond?  Help  Stop  This,  Farm  to  Win  and  Make  Every  Minute 
Count  for  Pershing. 

None  of  our  posters  have  been  more  thoroughly  artistic  than  those 
drawn  by  Mr.  W.  T.  Benda.  His  posters,  in  color,  issued  to  stimulate 
recruiting  among  the  Poles  in  this  country,  are  very  handsome  compo- 
sitions; his  simpler  drawings,  such  as  that  made  for  the  Y.W.C  A.,  en- 
titled Stand  Behind  the  Country’s  Girlhood,  are  charming  and  strong 
drawings. 

Mr.  Henry  Raleigh,  with  his  Hunger,  Blood  or  Bread,  and  Halt  the 
Hun  posters  produced  three  of  the  best  of  our  war  posters,  drawings  full 
of  strength  and  character.  The  poster  entitled  Keep  it  Coming,  by  Mr. 
George  Illian,  was  also  a notably  fine  drawing,  as  was  Mr.  Wallace 
Morgan’s  Feed  a Fighter.  Mr.  Joseph  Pennell’s  statue  of  liberty  poster 
was  also  excellent,  as  were  two  others  by  him,  of  shipping  subjects,  en- 
largements of  his  lithographs. 

Effective  posters  were  also  drawn  by  Messrs.  Henry  Reuterdahl, 
Edward  Penfield,  Charles  Livingston  Bull,  Charles  Dana  Gibson, 


Albert  Sterner,  F.  Walter  Taylor,  Fred  J.  Hoertz,  Walter  H. 
Everett,  George  Wright,  Hibbard  V.  B.  Kline,  Jonas  Lie,  F.  Luis 
Mora,  Howard  Giles,  W.  D.  Stevens,  Charles  Sarka,  H.  Devitt 
Welsh  and  several  other  artists.  Mr.  Welsh,  it  may  be  mentioned,  was 
Art  Director  of  the  Committee  on  Public  Information  during  the  au- 
tumn  of  1917. 

For  the  Victory  Liberty  Loan,  Mr.  L.  A.  Shafer  designed  an  excel- 
lent poster,  showing  an  American  destroyer  coming  to  the  rescue  of  a 
transport,  about  to  be  torpedoed. 

The  navy  had  its  own  organization  for  pictorial  publicity,  conducted 
by  the  United  States  Navy  Recruiting  Bureau,  in  New  York.  During 
the  entire  war  Lieutenant-Commander  Henry  Reuterdahl  served  as 
artistic  advisor.  Many  of  the  navy's  most  striking  and  successful  draw- 
ings and  paintings  used  for  recruiting  purposes  were  executed  by  him. 

It  is  worth  noting  that  the  navy  was  the  first  department  of  the  gov- 
ernment to  issue  any  posters.  Lieutenant-Commander  Reuterdahl  was 
attached  to  the  United  States  Navy  Recruiting  Bureau  in  March,  1917, 
and  at  once  set  about  getting  good  posters  for  the  navy.  Acting  as  a com- 
mittee of  one,  he  wrote  to  about  fifty  of  our  prominent  artists  asking  for 
poster  designs,  and  a few  days  before  this  country  entered  the  war  the 
navy  actually  had  some  of  their  first  posters  on  the  lithographic  stone. 
Thanks  to  the  foresight  of  Lieutenant-Commander  Reuterdahl,  the 
navy,  as  usual,  was  ready. 

The  marine  corps  also  acted  independently,  but,  like  the  navy,  ob- 
tained their  posters  from  the  same  artists  who  contributed  to  the  Divi- 
sion of  Pictorial  Publicity.  A number  of  excellent  posters  were  also  is- 
sued by  the  Publications  Section  of  the  United  States  Shipping  Board 
Emergency  Fleet  Corporation,  for  display  in  shipyards  and  industrial 
plants.  These  posters  had  the  desired  effect  of  making  many  thousands 
of  workmen  feel  the  patriotic  necessity  of  close  cooperation  with  the 
government  and  in  speeding  up  their  work. 

It  is  interesting  to  note  that  Mr.  Brangwyn  and  M.  Raemaekers  both 

[38} 


made  designs  for  use  by  the  United  States  Navy.  Excellent  ones  were 
also  drawn  by  Messrs.  Albert  Sterner,  George  Wright  and  James 
Daugherty.  For  a hoarding  in  Chicago,  Mr.  Robert  Reid  painted  a 
picture  measuring  fifty  by  one  hundred  and  thirty 'three  feet.  Lieutenant' 
Commander  Reuterdahl  made  three  paintings  of  large  dimensions  to 
advertise  the  Fourth  Liberty  Loan;  these  were  shown  in  Washington. 
In  collaboration  with  Mr.  N.  C.  Wyeth,  he  painted  a picture  ninety  feet 
long  and  twenty 'five  feet  high,  for  the  Third  Liberty  Loan,  which  was 
placed  on  the  Sub'Treasury  Building  in  New  York. 

Ill 

It  was  in  May,  1917,  that  plans  were  set  on  foot  to  send  artists  to 
France  to  make  a pictorial  record  of  the  various  activities  of  our  armies. 
Major  Kendall  Banning,  who  was  at  that  time  director  of  the  Division 
of  Pictures  of  the  Committee  on  Public  Information,  and  who  after' 
wards  was  attached  to  the  War  College  Division  of  the  War  Depart' 
ment,  was  responsible  for  this  recommendation.  He  at  once  consulted 
with  representatives  of  Great  Britain  and  France  and  learned  what 
those  countries  had  done  in  using  their  artists  for  portraying  the  his' 
tories  of  their  armies.  Their  advice  was  to  commission  capable  artists 
and  to  assign  them  to  duty  within  military  2,ones,  which  would  not  be 
open  to  civilians. 

In  June,  1917,  Major  Banning  got  in  touch  with  many  artists  who 
seemed  to  him  to  be  available  for  duty  as  official  artists;  Major  Banning 
also  conferred  with  Mr.  Charles  Dana  Gibson.  Major  Banning  then 
submitted  his  recommendations  to  the  Secretary  of  War.  It  was,  how' 
ever,  not  until  late  in  January,  1918,  that  the  Secretary  of  War  took  any 
action.  Authority  was  then  obtained  to  commission  eight  men  as  offi' 
cial  artists  in  the  Engineer  Reserve  Corps.  At  Major  Banning's  sugges' 
tion,  Mr.  Charles  Dana  Gibson  was  chosen  chairman  of  a group  of 
artists  to  make  recommendations.  Mr.  J.  Andre  Smith  was  the  first  of 
the  group  to  be  commissioned  a captain  in  the  Engineer  Reserve  Corps 

[39] 


and  sent  overseas.  He  was  followed  by  Captains  Ernest  Peixotto, 
William  J.  Aylward,  Harry  Townsend,  Wallace  Morgan,  George 
Harding,  Walter  J.  Duncan  and  Harvey  Dunn. 

Up  to  January  14,  1919,  two  hundred  and  seventy-seven  drawings 
had  been  received  from  our  overseas  artists,  one  hundred  and  five  be- 
ing from  Captain  J.  Andre  Smith.  At  the  Allied  War  Salon,  held  in 
New  York,  in  December,  1918,  all  of  the  drawings  received  to  date  were 
exhibited,  one  hundred  and  ninety-six  in  number.  These  drawings  had 
been  shown  in  W ashington  the  month  before  and  in  January,  1919,  they 
were  exhibited  in  Pittsburgh,  afterwards  being  shown  in  other  cities. 

Considering  the  fad:  that  these  artists  were  rather  hampered  in  their 
work,  it  is  most  creditable  to  them  that  they  produced  so  many  good 
drawings;  it  should  also  be  borne  in  mind  that  they  were  depictingvery 
unfamiliar  subjects.  The  collection  on  the  whole  reflects  the  spirit  of  our 
men,  their  backgrounds  and  the  incidents  of  their  lives  in  a reasonably 
satisfactory  manner,  although  it  leaves  much  to  be  desired.  Certainly 
they  are  more  valuable  than  any  photographs.  The  subjects  of  these 
drawings  were  thus  described  by  the  art  critic  of  the  Js[ewTor\Times: 
“The  subjects  cover  practically  the  whole  field  of  war,  dressing  stations, 
supply  trains,  bomb-proof  billets,  ‘chow,1  officers’  mess,  German  prison- 
ers, the  hurry  call  to  fight,  and  the  roll-call  afterwards,  artillery  and  ma- 
chine guns,  drawings  showing  the  kind  of  ground  over  which  our  men 
fought,  the  type  of  village  in  which  they  were  billeted,  the  cavalry 
school  at  Saumur,  machine-gun  battalions  at  drill,  and  a hundred  other 
scenes  of  activity,  all  of  which  give  a clear  impression  of  the  great  powers 
of  organisation  at  work  behind  them.” 

The  pencil  sketches  on  tinted  paper,  touched  with  water-color,  by 
Captain  J.  Andre  Smith,  are  excellent  drawings.  His  subjects  are  prin- 
cipally landscapes  and  towns,  and  strictly  speaking  are  not  war  draw- 
ings at  all.  Extremely  well  drawn  are  also  his  pastels  and  water-colors. 

Captain  George  Harding’s  pastels  of  marching  soldiers  and  scenes 
right  at  the  front  are  also  well  drawn  and  very  graphic.  Captain  Ernest 


Peixotto’s  sketches  of  landscapes,  men  on  the  march,  locomotive  shops, 
and  other  subjects,  which  are  executed  in  charcoal  and  gray  water-color, 
are  also  of  interest. 

Captain  Wallace  Morgan’s  excellent  draughtsmanship  was  well 
illustrated  in  his  spirited  drawings,  which  were  among  the  best  sent 
home  by  these  artists. 

Unfortunately  Captain  Harvey  Dunn’s  sketches  did  not  arrive  in 
time  to  be  shown  with  the  drawings  of  the  other  official  artists.  Appar- 
ently he  made  very  few  drawings,  but  those  he  did  make  are  excellent, 
if  one  may  judge  from  the  photographs  of  them  which  he  has  showed 
me.  Captain  Dunn,  with  two  or  three  of  the  other  artists,  actually  went 
over  the  top  with  the  men.  Rapid  sketches  made  by  him  on  a specially 
designed  box,  with  rollers  to  wind  up  his  sketches  and  present  a new 
surface  of  paper,  possess  a very  real  interest. 

IV 

Several  artists  went  to  France  who  did  not  hold  official  positions. 
One  of  these  was  Mr.  Samuel  J.  Woolf,  who  went  ostensibly  as  a war 
correspondent,  but  really  with  the  idea  of  making  drawings  and  paint- 
ings. With  him  he  carried  letters  from  the  War  Department  and  the 
Secretary  of  the  Navy;  accordingly,  he  not  only  secured  permission  to 
visit  the  training  camps,  but  also  the  various  sectors  held  by  the  Amer- 
ican troops.  He  lived  with  our  men,  eating  and  sleeping  with  them;  at 
one  time  he  drove  an  ambulance,  at  another  acted  as  cook.  He  was  slight- 
ly wounded  and  also  gassed.  All  of  these  experiences  saturated  him  with 
his  subjedt  and  enabled  him  to  produce  a series  of  paintings  and  draw- 
ings of  decided  interest.  Several  of  Mr.  Woolf’s  paintings  and  drawings 
were  shown  at  the  Allied  War  Salon  in  New  York;  twenty-one  paint- 
ings by  him  and  about  sixty  sketches  and  drawings  formed  a special 
exhibition  held  in  New  York  in  February,  1919. 

Mr.  Lester  G.  Hornby  was  with  the  American  troops  during  the 
summer  and  autumn  of  1918  and  made  a number  of  slight,  but  interest- 

[4i] 


ing,  drawings.  Some  of  these  sketches  were  published  in  the  spring,  1919, 
issues  of  Harpers  Magazine  to  accompany  a series  of  articles  entitled 
How  the  War  Was  Won,  written  by  General  Malleterre  of  the  French 
army.  Mr.  Hornby  was  given  passes  as  a sketclvcorrespondent  by  the 
French  Committee  on  Public  Information. 

Mr.  Will  Foster,  who  was  in  the  army  at  the  beginning  of  the  war, 
and  later  became  a member  of  the  ambulance  service,  made  a number 
of  admirable  drawings  at  the  front.  Several  of  his  drawings  were  repro' 
duced  in  the  April,  1919,  issue  of  Scribners  Magazine  to  accompany  an 
article  written  by  the  artist,  entitled  A Day  with  a Sketch'block  at  the 
Front. 

Mr.  jo  Davidson,  the  sculptor,  went  to  France,  where  he  modeled 
excellent  busts  of  many  of  the  great  allied  generals  and  statesmen;  Mr. 
Robert  I.  Aitken  also  did  some  work  of  this  nature.  Mr.  Joseph  Cum' 
mings  Chase  went  to  France  to  paint  the  portraits  of  various  American 
and  allied  officers,  as  well  as  privates  who  had  been  decorated.  Hispon 
traits  are  devoid  of  merit.  Three  etchings  of  Rheims  Cathedral  under 
fire  were  made  by  Mr.  Louis  Orr,  three  plates  of  marked  excellence. 

V 

Mr.  Joseph  Pennell  has  made  a hundred  or  more  lithographs  of  war 
work  in  America,  a continuation  of  a series  started  in  England.  They 
form  a part  of  his  set  of  lithographs  dealing  with  the  wonder  of  work. 
Building  the  Battleship,  Shell  Factory,  Shaping  a Gun  from  an  Ingot,  and 
Making  War  Locomotives  are  titles  of  drawings  which  suggest  the  range 
of  his  subjects.  In  his  Food  and  Fuel  series  we  find  such  titles  as  Loading 
Coal,  Stock  Yard  and  The  Mining  Town.  These  lithographs  constitute 
an  adequate  and  excellent  record  of  America’s  manifold  preparations 
for  waging  war.  I know  of  no  one  who  could  have  done  the  work 
better.  For  Mr.  Pennell’s  album  of  reproductions  of  his  war  work  in 
England,  Mr.  H.  G.  Wells  wrote  an  introduction  in  which  he  stated 
that  “Through  all  these  lithographs  runs  one  present  motif,  the  motif 

M 


of  the  supreme  effort  of  Western  civilization  to  save  itself  and  the  world 
from  the  dominance  of  the  reactionary  German  Imperialism  that  has 
seized  the  weapons  and  resources  of  modern  science.” 

Mr.  Vernon  Howe  Bailey  has  also  made  an  excellent  series  of  draw- 
ings  and  lithographs  of  war  work  in  America,  remarkable  for  their  sound 
draughtsmanship  and  sense  of  verity.  Seventy-six  of  these  have  been 
exhibited  in  many  parts  of  the  country,  under  the  following  classifica- 
tions:  Navy  Yards,  The  Fleet,  Gun  Shops,  Bethlehem,  Aeroplanes  and 
Merchant  Ships.  Mr.  Bailey  executed  his  drawings  at  the  New  York, 
Philadelphia,  Washington  and  Norfolk  Navy  Yards,  at  the  Bethlehem 
Steel  Company’s  Works,  the  Curtis  Aeroplane  Company’s  Works,  at 
the  Mineola  Flying  Field  and  at  three  different  shipyards.  Aside  from 
Mr.  Bailey’s  beauty  of  drawing,  his  studies  possess  a very  real  histori- 
cal  value. 

Mr  .John  C.  Johansen  went  to  the  shipyards  and  painted  a very  nota- 
ble  set  of  thirty  or  more  pictures  which  will  always  be  a valuable  rec- 
ord  of  this  most  necessary  of  all  war  acti  vities  in  the  United  States.  They 
are  very  well  painted.  Some  of  these  pictures  show  us  ships  under  con- 
struction,while  several  are  of  launchings.  A number  of  shipyard  pictures 
were  also  painted  by  Mr.  Thornton  Oakley,  while  several  excellent 
lithographs  were  drawn  by  Mr.  Herbert  Pullinger  and  noteworthy 
drawings  were  made  by  Mr.  Hugh  Ferriss,  of  similar  subjects.  Unfor- 
tunately but  few  records  were  made  of  the  camps  in  this  country,  but 
the  navy  fared  a little  better.  Mr.  George  Wright  sketched  at  the  Pel- 
ham Bay  Training  Station  and  the  Brooklyn  Navy  Yard  and  Lieuten- 
ant-Commander Henry  Reuterdahl  made  many  colorful  paintings  of 
our  destroyers  and  other  naval  craft  in  home  waters. 

VI 

Innumerable  pictures  have  been  “turned  out”  by  the  painters  of  this 
country  to  be  used  for  patriotic  purposes.  These  battle  pictures,  atroc- 
ity pictures  and  pictures  of  hospital  ships  being  torpedoed  by  subma- 

[43] 


rines,  all  painted  in  America,  were  used  in  connection  with  the  Liberty 
Loan  and  Red  Cross  “drives.11  The  generous  and  patriotic  spirit  shown 
by  these  artists  was  admirable  and  their  pictures  served  their  purpose 
well  by  encouraging  the  public  to  buy  bonds  and  in  obtaining  contrb 
butions.  But,  as  one  writer  has  truthfully  said,  “Art  cannot  be  hurried. 
Art  should  not  be  hustled  into  serving  an  immediate  and  clamoring 
cause.  Art  is  feeling,  and  feeling  is  born  within  the  artist.11  As  I have 
said,  these  pictures  served  their  purpose,  but  they  have  no  document 
tary  value  and  only  a very  few  can  possibly  be  considered  works  of 
art,  and  as  possessing  aesthetic  qualities,  and  it  does  not  seem  to  me  that 
these  pictures  should  be  seriously  considered  in  a book  of  this  nature. 
In  this  generalisation  I do  not  include  Mr.  George  Bellows’s  Murder  of 
Edith  Cavell,  which  in  composition  and  color  is  quite  impressive.Very 
well  painted,  also,  is  Mr.  Paul  Dougherty’s  picture  entitled  Sunk 
Without  a Trace. 

There  are,  however,  a number  of  exceptions  to  the  above  assertion 
or  rather  there  are  a number  of  pictures  which  were  painted  in  this  coum 
try  which  do  not  fall  into  the  above  category.  I refer  to  the  pictures  of 
actual  events  in  the  United  States  and  to  pictures  of  a symbolical  or 
allegorical  nature. 

Mr.  George  Luks  painted  a picture  of  the  famous  French  “Blue  Dew 
ils”  marching  down  Fifth  Avenue,  which  is  one  of  the  best  of  all  the 
American  war  pictures.  It  is  admirably  painted,  rich  in  color,  and  full 
of  life  and  vigor;  the  suggested  motion  of  the  men  as  they  swing  down 
the  avenue  is  really  quite  masterly.  Less  interesting  in  every  way,  but 
also  a notable  picture,  is  another  canvas  by  Mr.  Luks  entitled  Cz,echo" 
Slovaks  in  American  Camp  Celebrating  Their  Recognition  as  a Nation, 
in  which  they  are  seen  dancing  around  a huge  bonfire,  which  shoots  an 
enormous  yellow  flame  skywards.  Yet  another  painting  by  Mr.  Luks, 
of  the  celebration  held  in  New  York  upon  the  signing  of  the  armistice, 
is  really  more  of  an  enormous,  loosely  constructed  sketch,  but  at  the 
same  time  it  is  full  of  movement  and  fire  and  is  highly  amusing.  Well 

M 


painted,  also,  is  Mr.  Luks’s  pidture  which  shows  the  Leviathan  steaming 
up  New  York  Bay,  freighted  down  with  members  of  the  returning 
Twenty 'seventh  Division  and  escorted  by  scout  patrols  and  various 
other  craft.  It  is  a matter  of  keen  regret  that  other  artists  did  not  essay 
such  subjects  as  these. 

Mr.  Gifford  Beal  painted  a pidture  of  the  peace  celebration  in  New 
York,  a canvas  full  of  rich  color,  and  Mr.  Hayley  Lever  one  of  French 
Day  on  Fifth  Avenue.  A series  of  paintings  showing  New  York  be' 
decked  with  the  flags  of  the  United  States  and  the  Allies  was  painted 
by  Mr.  Childe  Hassam — a very  notable  set  of  pictures  by  one  of  the 
greatest  of  living  American  artists.  No  artist  has  equalled  Mr.  Childe 
Hassam  in  recording  the  beauty  of  New  York,  and  it  was  fortunate  that 
New  York  had  such  an  artist  to  paint  her  bannered  beauty.  Mr.  Has' 
sam  is  the  foremost  exponent  of  the  teachings  of  Impressionism  in  Amer' 
ica,  a most  individual  and  original  painter  and  one  possessed  of  an  ex' 
tremely  sensitive  color  vision.The  freshness  and  coolness  of  his  pigments 
are  seen  to  great  advantage  in  these  pictures  of  New  York  on  parade.  My 
only  criticism  is  that  in  none  of  them  does  there  appear  among  the 
crowds  a soldier  or  a sailor.  This  would  have  given  a certain  note,  a cer' 
tain  touch,  an  accent,  which  would  have  enhanced  the  picture,  besides, 
of  course,  being  truthful. 

Mr.  Edwin  H.  Blashfield’s  picture  entitled  Carry  On  is  one  of  the 
most  notable  war  pictures  painted  by  an  American  artist.  This  canvas, 
by  one  of  America’s  welbknown  mural  painters,  is  full  of  fire  and  shows 
a spirit  of  ardent  patriotism.  It  is  remarkable  both  in  design  and  color. 
Fortunately  the  Metropolitan  Museum  of  Art  opened  its  doors,  barred 
to  all  art  connected  with  the  war,  wide  enough  to  admit  this  pidture, 
which  it  has  purchased.  A painting  by  Mr.  William  Ritschel,  called 
Crusaders,  is  another  spirited  and  noble  conception.  Three  paintings 
by  Mr.  Augustus  Vincent  Tack,  entitled  1918 — CarryOn,To  the  Last 
Drop  and  You  Must  Choose,  are  distinguished  by  refinement  of  vision 
and  exquisite  color,  his  blues  being  particularly  beautiful.  Mr.  George 

[45] 


Bellows  painted  two  excellent  canvases  symbolizing  the  dawn  of  peace 
for  the  Red  Cross  membership  drive  which  was  held  in  New  York  in 
December,  1918,  as  did  Mr.  Maxfield  Parrish.  The  other  paintings,  as 
well  as  numerous  arches,  made  for  this  occasion  were  excruciatingly 
bad,  being  the  work  of  half-baked  extreme  modernists. 

In  America  lithography,  the  most  autographic  of  the  reproductive 
arts,  is  just  beginning  to  receive  from  collectors  the  attention  which  it 
merits.  Whistler’s  lithographs  are  very  rapidly  taking  their  place  with 
his  etchings  in  popular  estimation  and  numerous  American  artists  have 
been  attracted  to  the  artistic  possibilities  of  the  lithographic  stone. 
Messrs.  J.  Alden  Weir,  John  Sloan  and  Ernest  Haskell  have  several 
stones  to  their  credit,  Mr.  William  J.  Glackens  one,  Mr.  Albert  Sterner 
quite  a number,  and  Mr.  Joseph  Pennell  hundreds.  Lithographs  have 
also  been  drawn  by  Mr.  George  Bellows  and  Mr.  Childe  Hassam,  of 
subjects  connected  with  the  war,  and  it  is  of  these  that  I wish  to  say  a 
few  words. 

Mr.  George  Bellows  has  drawn  a set  of  twelve  lithographs  depict' 
ing  atrocities  committed  by  the  German  armies  in  Belgium,  based  upon 
Lord  Bryce’s  Report.  His  Murder  of  Edith  Cavell,  from  which  he  sub' 
sequently  made  a painting,  as  he  did  from  several  others  of  the  litho' 
graphs,  is  beautifully  composed  and  beautifully  drawn.  Although  the' 
atrical  in  conception,  it  is  on  the  whole  a splendid  piece  of  work.  The 
titles  of  Mr.  Bellows’s  other  lithographs  are  Bacchanal,  Sniped,  Gott 
Strafe  England,  Belgium  Farmyard,  Massacre  at  Dinant,  The  Cigarette, 
The  Germans  Arrive,  Dressing  Station,  The  Barricade,  The  Last  Victim 
and  Return  of  the  Useless.  Some  of  these  drawings  are  marred  by  rather 
feeble  and  faulty  draughtsmanship,  others  in  their  terrible  frankness  ex' 
ceed  the  bounds  set  by  art  and  by  taste,  but  these  are  only  details:  this 
set  of  lithographs  is  one  of  the  most  eloquent  contributions  made  by  an 
American  artist.  Although  based  on  fact,  these  lithographs  are  not  a 
record  of  personal  experience,  having  been  drawn  in  America.  They 
should  not,  however,  for  this  reason  be  lightly  dismissed  from  serious 


consideration,  because  if  they  were,  all  of  Rembrandt’s  paintings  and 
etchings  with  Biblical  subjects  would  have  to  go  with  them. 

Years  agoMr.CmLDEHASSAM  made  some  delightful  drawings  in  black 
and  white  of  street  scenes  in  Paris,  London  and  New  York.  In  return' 
ing  to  black  and  white  I am  glad  that  Mr.  Hassam  has  chosen  lithography 
as  his  vehicle.  Mr.  Hassam’s  six  lithographs  of  New  York  seen  in  war 
time  are  entitled  Lafayette  Street,  The  Avenue  of  the  Allies,  Camouflage, 
The  French  Cruiser,  North  River  and  New  York  Bouquet.  These  rapid 
notations  are  all  delightfully  spontaneous  and  brilliant  in  execution. 

VII 

If  never  before  had  the  poster  artist  enjoyed  such  a golden  opportu' 
nity  to  make  use  of  his  art,  this  was  equally  true  of  the  cartoonist.  He 
wielded  a powerful  weapon  and  in  his  hand  it  could  truly  be  said,  as  of 
the  author,  that  the  “pen  is  mightier  than  the  sword.11 

The  cartoonist  proved  to  be  one  of  the  most  important  of  all  agencies 
for  moulding  public  opinion.  In  America  Mr.  Charles  Dana  Gibson 
played  no  small  part  in  putting  the  real  issues  of  the  war  before  the  pub' 
lie,  and  in  a striking  and  telling  manner.  Mr.  W.  A.  Rogers  was  another 
strong  cartoonist,  as  was  Mr.  Cesare,  Mr.  Boardman  Robinson,  whose 
technique  was  borrowed  from  M.  Forain  and  who  technically  is  one 
of  the  most  adroit  of  our  cartoonists,  also  did  some  remarkably  clever 
and  telling  work  for  Colonel  George  Harvey’s  War  Weekly,  in  which 
it  appeared  anonymously.  Many  of  the  cartoons  of  Messrs.  Rogers, 
Cesare  and  Robinson  have  been  collected  in  album  form. 

VIII 

Landscape,  or  designation  targets,  have  long  been  used  by  the  armies 
of  Europe  and  in  the  training  of  the  recruit  they  are  of  great  value.  These 
“targets”  are  large  landscapes  depicting  typical  French  rural  scenery  and 
are  used  in  our  military  schools  to  train  the  embryo  artillery  officer  to 
locate  quickly  a given  point  in  a landscape.  The  most  satisfactory  land' 


scape  targets  are  those  painted  in  clear  and  bright  colors.  The  sine  qua 
non  is  correct  perspective.  The  sizes  vary  from  three  by  six  feet  to  five 
by  twelve  feet.  These  landscapes  are  used  in  class-room  instruction  to 
visualize  the  country  in  which  the  men  are  to  fight,  for  panoramic  sketch- 
ing, for  working  out  problems  of  offense  and  defense,  for  target  designa- 
tion according  to  the  clock-face  method  in  machine-gun,  artillery  and 
rifle  practice,  and  for  other  purposes. 

Many  of  our  landscape  artists  supplied  the  need  for  these  “targets” 
in  our  artillery  schools  and  thereby  rendered  a very  useful  service  to 
the  government. 

IX 

The  manner  in  which  the  sculptor  was  able  to  apply  his  special  talents 
to  work  connected  with  the  war,  and  the  way  the  war  reacted  upon  his 
art,  forms  an  interesting  feature  of  our  study  of  the  part  art  played  in 
the  Great  War. 

Many  sculptors  entered  the  camouflage  unit  of  the  army  {40th  En- 
gineers], where  they  were  able  to  render  notable  service.  Others  are 
now  having  an  opportunity  to  design  monuments  to  our  heroic  dead. 
Captains  J.  Andre  Smith  and  Aymar  Embury,  2nd,  designed  medals  for 
the  government,  they  being  modeled  by  Private  Gaetano  Cecere.  Mr. 
Paul  Manship,  the  most  gifted  of  living  American  medalists,  cooperated 
with  several  noted  artists  on  the  new  Congressional  Medal  of  Honor 
for  the  navy  and  on  the  Distinguished  Service  Medal  and  Distinguished 
Service  Cross  for  the  navy.  The  latter  two  designs  were  accepted,  but 
that  for  the  Medal  of  Honor  was  rejected.  The  Secretary  of  the  Navy 
then  obtained  designs  from  various  manufacturing  concerns,  eventually 
accepting  that  submitted  by  a button  maker.  Comment  is  unnecessary. 
Mr.  Manship  also  modeled  a Jeanne  d’Arc  medal  of  marked  distinction, 
as  well  as  three  others  which  were  sold  for  war  charities;  these  were 
entitled  Kultur,  French  Hero’s  Fund  and  Art  War  Relief. 

An  excellent  opportunity  to  study  what  effect  the  war  had  on  Amer- 
ican sculpture  was  afforded  at  the  Allied  War  Salon  held  in  New  York 

[48] 


in  December,  1918.  Forty-three  works  were  in  the  collection,  the  work 
of  thirty-two  sculptors.  Nothing  in  this  group  possessed  more  vitality 
and  showed  greater  mastery  of  modeling  than  Mr.  Mahonri  Young’s 
colored  soldier  on  the  march  called  One  of  the  Buffaloes,  which  was  the 
nickname  given  to  one  of  the  colored  regiments.  Also  full  of  life  was  his 
Artilleryman.  Clio  Bracken  [Mrs.  H.  H,  Bracken]  had  an  excellent 
statuette  of  Lieutenant  Henri  Farre,  and  other  works  of  note  were  con- 
tributed by  Mr.  Herbert  Adams,  Mr.  Solon  Borglum,  Miss  Malvina 
Hoffman,  Mr.  Hermon  A.  MacNeil,  Mr.  Isidore  Konti,  Anna  Cole- 
man Ladd  [Mrs.  Maynard  Ladd],  Miss  Jessie  M.  Lawson  and  Mr. 
Theodore  Spicer-Simpson. 

In  England  Captain  Derwent  Wood  did  some  notable  work  in  con- 
structing masks  to  cover  facial  injuries.  Professor  Henry  Tonks  also 
worked  with  the  plastic  surgeon.  A Boston  sculptress,  Anna  Cole- 
man Ladd  [Mrs.  Maynard  Ladd],  reading  reports  of  Captain  Wood’s 
studies,  went  to  Paris,  where  she  and  her  assistants  rendered  splendid 
service  in  the  French  hospitals  making  new  faces  for  soldiers  whose  faces 
had  been  partially  shot  away. 

X 

Under  the  direction  of  Major  Evarts  Tracy,  an  architect,  a camou- 
flage unit  for  our  army  was  organised  in  August,  1917.  The  men  studied 
at  the  American  University,  Washington,  D.  C.  This  unit  formed  a part 
of  the  Corps  of  Engineers  [40th].  It  was  a military  organisation  com- 
posed of  artists,  architects,  carpenters,  ornamental  iron  workers,  tin- 
smiths, plasterers,  photographers,  stage  carpenters  and  property  men. 
Lieutenant-Colonel  Bennion  commanded  the  camouflage  unit  in  France. 

The  work  in  general  dealt  with  the  concealment  of  gun  emplacements, 
trenches  and  sheds  of  military  value;  the  screening  of  roads  and  manu- 
facture of  materials  for  this  purpose;  the  painting  of  roofs  and  large  areas 
of  canvas  for  the  covering  of  ammunition  storage  and  the  like;  the  mak- 
ing of  various  devices  and  clothing  for  the  concealment  of  observers  and 
snipers  and  occasionally  the  painting  of  a scenic  drop. 

[49} 


Captain  Homer  Saint  Gaudens,  who  was  in  charge  of  the  work  of 
the  Second  Army,  informs  us  that  camouflage  had  two  functions,  to 
deceive  the  eye  and  to  deceive  the  aeroplane  cameras;  aeroplane  obser- 
vation  was  largely  photographic.  Concealment  from  aeroplane  observa- 
tion  he  states  was  the  more  difficult,  as  the  camera  was  more  accurate 
than  the  eye.  Color,  Captain  Saint  Gaudens  further  informs  us,  proved 
to  be  of  relatively  small  importance,  but  that  strips  of  dulbcolored  cloth, 
tied  to  fish-nets  gave  the  needed  variation  of  light  and  shade. 

Modern  camouflage  is  based  upon  the  studies  of  Messrs.  Abbott 
Thayer  and  Louis  Fuertes,  two  painters,  as  well  as  those  of  Dr.  Chap- 
man of  the  American  Museum  of  Natural  History,  who  have  made  a 
study  of  bird  life  and  protective  coloration.  Some  familiar  examples  of 
nature’s  camouflage  are  the  frog  spotted  like  a tree;  the  polar  bear  with 
a coat  of  white  fur  which  blends  with  his  surroundings  of  ice  and  snow, 
and  the  tiger,  striped  in  such  a way  as  to  make  him  invisible  in  a bam- 
boo forest. 

An  interesting  collection  of  sketches  made  by  the  overseas  men  of 
the  camouflage  unit  was  shown  at  the  Arts  Club  of  Washington  in 
April,  1919.  Portrait  studies  were  exhibited,  as  well  as  drawings  show- 
ing fortifications  and  military  works. 

XI 

Owing  to  Germany’s  development  of  the  submarine  and  the  large 
number  of  them  which  she  was  able  to  operate,  marine  camouflage  be- 
came a most  important  science. 

In  this  country  Mr.  Willi  am  Andrew  Mackay,  an  artist,  was  the 
pioneer  marine  camoufleur.  He  began  his  studies  in  1912  and  in  1914 
worked  with  the  Navy  Department.  Some  months  before  the  United 
States  entered  the  war  Mr.  Mackay  founded  a school  for  the  study  of 
marine  camouflage  and  when  we  finally  entered  the  conflict  the  group 
of  men  under  him  became  the  nucleus  from  which  the  great  body  of 
men  in  this  service  grew. 

Marine  camouflage  was  done  under  the  direction  of  the  Navy  De- 

[50] 


partment,  the  work  being  executed  by  the  United  States  Shipping  Board 
Emergency  Fleet  Corporation’s  department  of  camouflage.  In  each  dis- 
trict  was  stationed  a district  camoufleur,  with  a corps  of  trained  men. 

The  first  system  of  marine  camouflage  to  be  used  was  intended  to 
make  the  vessel  as  nearly  invisible  as  possible.  Mr.  R.  F.  Yates,  in  the 
course  of  a most  interesting  paper  on  the  subject,  says  that  in  this  sys- 
tem  “the  colors  used  are  of  such  combinations  and  values  that  they  cause 
the  vessel  to  melt  away  on  the  horizon.11 

This  system,  an  attempt  to  make  vessels  invisible,  was  later  largely 
superseded  by  a system  of  “baffle”  or  “dazzle”  painting,  which  was  in- 
vented  by  Lieutenant-Commander  Norman  Wilkinson  of  the  British 
navy,  a well-known  marine  painter.  His  painting  was  designed  to  dis- 
tort the  outlines  of  the  ship  and  mislead  the  submarine  commander  as 
to  the  craft’s  siz,e  and  character,  as  well  as  to  the  course  she  was  making. 
This  system  was  most  successful  and  undoubtedly  prevented  many  fine 
ships  from  being  sent  to  the  bottom  of  the  sea. 

XII 

A committee  on  Arts  and  Decoration,  a sub-committee  of  the  Mayor’s 
Committee  on  National  Defense  for  the  City  of  New  York,  was  estab- 
lished in  May,  1918.  The  director  invited  the  present  writer  to  organize 
this  committee  and  to  accept  the  chairmanship  of  it.  This  committee 
was  organized  for  the  purpose  of  developing  the  field  of  art  in  connec- 
tion with  the  war,  where  the  services  of  artists,  architects,  sculptors 
and  those  practising  the  allied  arts  were  employed. 

A Bureau  of  Information  was  established,  in  the  Hall  of  Records,  to 
advise  and  direct  those  seeking  to  apply  their  talents  to  work  connected 
with  the  war.  Here  could  be  obtained  accurate  information  concerning 
the  designing  of  pictorial  placards  for  government  purposes,  cartoons, 
landscape  targets,  military  and  naval  camouflage,  decorations  and  other 
subjects.  A leaflet  containing  suggestions  and  information  was  prepared 
and  distributed  gratuitously. 

A Division  of  Exhibitions  was  established  to  further  the  cause  of 


pictorial  propaganda.  Three  times  the  official  British  lithographs  reflect' 
ing  Britain’s  efforts  and  ideals  in  the  Great  War  were  shown  under  the 
auspices  of  this  committee,  and  a collection  of  one  hundred  and  twen' 
tyffive  colored  facsimiles  of  cartoons  by  M.  Raemaekers  was  shown  in 
the  various  cantonments  throughout  the  country.  It  was  the  chairman 
of  this  committee,  cooperating  with  Messrs.  Duncan  Phillips  and  Au' 
gustus  Vincent  Tack,  whom  he  appointed  to  form  the  Division  of  Ex' 
hibitions,  who  arranged  the  Allied  War  Salon  held  in  New  York  in 
December,  1918. 

The  Committee  on  Arts  and  Decoration  assisted  in  the  artistic  cem 
soring  of  the  historic  floats,  banners  and  costumes  appearing  in  the  In' 
dependence  Day  Pageant'Parade  held  in  New  Y ork  in  1 9 1 8.This  parade, 
in  which  about  sixty  different  nationalities  took  part,  was  easily  the  most 
interesting  parade  ever  held  in  New  York.  The  Advisory  Art  Com' 
mittee  of  the  Liberty  Loan  Committee  asked  for  the  closest  cooperation 
between  the  two  committees.  The  chairman  of  the  Committee  on  Arts 
and  Decoration  was  also  invited  to  serve  on  the  Victory  Arch  Com' 
mittee.  These  are  but  a few  examples  of  the  wide  and  useful  scope  of 
this  committee  in  coordinating  art  work  in  so  far  as  it  affected  the 
community. 

Mr.  Duncan  Phillips,  a member  of  this  committee,  drew  up  a set  of 
resolutions  containing  a suggestion  whereby  Germany  and  Austria 
might  be  compelled  to  make  at  least  some  reparation  for  their  wanton 
destruction  of  works  of  art  in  France,  Belgium  and  Italy.  This  resolution 
was  sent  to  the  President  of  the  United  States.  The  last  clause  in  it  read 
as  follows:  “ Resolved , that  we  do  herewith  petition  our  people’s  repre' 
sentatives,  the  President  of  the  United  States,  and  others  who  may  be 
vested  by  him  with  authority,  to  suggest  to  the  representatives  of  the 
allied  nations  when  they  assemble  in  council  and  consider  upon  what 
terms  Germany  and  Austria  may  obtain  peace,  that  an  Inter' Allied  Com' 
mission  of  Artists  be  empowered  to  select  such  works  of  art  as  will  be 
demanded  from  the  German  and  Austrian  Governments,  not  in  revenge, 
but  in  justice,  as  part  of  our  war  indemnity,  and  as  partial  reparation 


for  those  beautiful  cathedrals  and  other  monuments  which  the  forces 
of  evil  in  Germany  and  Austria  have  deliberately  caused  to  be  dese- 
crated  and  destroyed.” 

Mr.  Lloyd  Warren  was  the  vice-chairman  of  this  committee,  and 
the  executive  committee  was  composed  of  Messrs.  Herbert  Adams, 
Paul  W.  Bartlett,  Nicholas  Murray  Butler,  Robert  W.  de  Forest, 
Charles  Dana  Gibson,  Thomas  Hastings,  Archer  M.  Huntington  and 
Clarence  H.  Mackay.  Thirty-four  men  composed  the  general  committee. 

XIII 

The  Liberty  Loan  Committee  in  New  York  had  a very  competent 
Art  Advisory  Committee  which  rendered  a most  useful  service  in  as- 
sisting in  their  campaigns.  Mr.  H.  Van  Buren  Magonigle  was  chair- 
man of  this  sub-committee,  his  associates  being  Messrs.  Herbert  Adams, 
Paul  W.  Bartlett,  Edwin  H.  Blashfield  and  Charles  Dana  Gibson. 
Their  appointments  were  made  when  the  arrangements  for  the  Fourth 
Liberty  Loan  were  already  under  way  and  therefore,  in  view  of  this, 
the  committee  decided  to  concentrate  their  efforts  upon  the  decoration 
of  Fifth  Avenue,  Mr.  J.  Monroe  Hewlett  being  placed  in  charge. 

Thanks  to  the  work  of  this  committee,  New  York  had  during  Octo- 
ber, 1918,  the  opportunity  of  viewing  one  of  the  most  inspiring  exhi- 
bitions of  pidmres  ever  held  in  the  metropolis.  Fifth  Avenue,  the  fairest 
avenue  in  the  world,  was  the  gallery,  about  a hundred  windows  along 
the  thoroughfare  being  the  settings  for  the  paintings.  Many  of  the  fore- 
most artists  in  the  country  painted  these  patriotic  pictures,  including 
Messrs.  Paul  Dougherty,  Gari  Melchers,  Edwin  H.  Blashfield,  Au- 
gustus Vincent  Tack,  Frank  W.  Benson,  George  Bellows,  Jonas  Lie, 
Gifford  Beal  and  George  Luks.  Messrs.  Herbert  Adams  and  Mahonri 
Young  were  among  the  sculptors.  This  most  interesting  display  was  the 
idea  of  Mr.  Augustus  Vincent  Tack,  who  carried  it  out  with  marked 
success.  The  idea  involved  in  this  exhibition  is  contained  in  the  an- 
nouncement drawn  up  by  Mr.  Tack,  which  reads,  in  part,  as  follows: 
“In  the  early  days,  artists  showed  their  works  in  public.  We  read  the 

[53] 


stories  of  competition  decided  by  popular  vote,  of  the  birds  who  were 
deceived  and  of  the  populace  who  were  deceived  by  the  painted  veil 
of  Apelles.  In  the  later  Italian  days  paintings  were  exhibited  on  the  Rial" 
to,  where  the  people  became  familiar  with  them,  grew  to  know  and 
understand  them.  Something  of  this  is  possible  here.  Fifth  Avenue  is 
our  Rialto.” 

Another  most  interesting  feature  of  the  work  done  by  this  committee 
was  placing  a pictureTrame,  measuring  eight  by  sixteen  feet,  in  front  of 
the  New  York  Public  Library,  on  which  on  twenty  "two  successive  days 
was  painted  a picture  typifying  the  spirit  of  one  of  the  allied  nations.  Mr. 
Charles  B.  Falls  was  the  chairman  of  this  committee.  Among  the 
twenty"two  artists  who  painted  these  pictures  were  Mr.  James  MqnT" 
gomery  Flagg  [Belgium],  Lieutenant"Commander  Henry  Reuter" 
dahl  [British  Empire],  Mr.  Charles  S.  Chapman  [Cuba],  Mr.  F.  Luis 
Mora  [France],  Mr.  George  Wright  [Greece],  Mr.  Charles  B.  Falls 
[Japan],  Mr.  Adolph  Treidler  [Montenegro],  Mr.  Jonas  Lie  [Pana" 
ma],  Mr.  W.  T.  Benda  [Poland],  Mr.  William  J.  Glackens  [Russia], 
and  Mr.  Charles  Dana  Gibson  [United  States]. 

XIV 

An  Allied  War  Salon,  one  of  the  most  significant  and  interesting  ex" 
hibitions  of  pictures  ever  held  in  New  York,  was  opened  to  the  public 
on  9th  December,  1918,  remaining  open  until  Christmas. 

This  exhibition  was  held  under  the  joint  auspices  of  the  Division  of 
Pictorial  Publicity  of  the  Committee  on  Public  Information,  the  Mayor  s 
Committee  on  National  Defense  and  the  American  Federation  of  Arts. 
The  Secretary  of  State,  the  Secretary  of  War,  the  Secretary  of  the  Navy, 
the  Acting  British  High  Commissioner,  the  Ambassador  of  Italy  and 
the  Acting  French  High  Commissioner  were  patrons. 

The  Allied  War  Salon,  however,  was  not  at  all  “official”  in  character, 
as  that  word  is  commonly  interpreted.  As  a matter  of  fact,  there  were 
no  committees,  other  than  honorary  ones,  and  no  jury,  but  the  entire 
material,  some  eight  hundred  items,  was  gathered  by  Mr.  Duncan  Phil" 

[54] 


lips  and  the  writer  of  this  book,  ably  assisted  in  collecting  the  paint" 
ings  by  American  artists  by  Mr.  Augustus  Vincent  Tack. 

As  already  noted,  nearly  two  hundred  drawings  by  our  official  artists 
in  France  were  shown  in  this  exhibition.  A group  of  fifty  or  more  Ameri" 
can  posters,  including  many  originals,  was  shown,  as  well  as  some  hun" 
dred  carefully  selected  examples  by  French  and  British  artists. 

Sixty  or  seventy  pictures  by  American  artists,  painted  in  this  country, 
were  the  work  of  Messrs.  Gifford  Beal,  George  Bellows,  Ernest  C. 
Blumenschein,  Howard  Russell  Butler,  Charles  S.  Chapman,  Paul 
Dougherty,  Charles  W.  Hawthorne,  Albert  Herter,  Hayley  Lever, 
Jonas  Lie,  George  B.  Luks,  Gari  Melchers,  William  Ritschel,  AuguS" 
tus  Vincent  Tack,  Douglas  Volk,  Childe  Hassam,  J.  Alden  Weir 
and  many  other  artists  of  reputation. 

One  of  the  most  interesting  exhibits  was  a group  of  thirty  "six  paintings 
and  drawings  by  the  marine  camoufleurs  of  the  United  States  Shipping 
Board,  Second  District. 

Drawings,  lithographs  and  etchings  in  the  American  sections  were 
the  work  of  Messrs.  George  Wright,  W.  A.  Rogers,  Charles  Dana 
Gibson,  Louis  Orr,  Samuel  J.  Woolf,  George  Bellows,  Childe  Has" 
sam,  Hugh  Ferriss,  and  Herbert  Pullinger.  Two  landscape  targets,  one 
painted  by  Mr.  Augustus  Vincent  Tack  and  one  by  Messrs.  H.  Bolton 
J ones  and  Francis  C.  J ones,  attracted  much  interest.  Sculpture  by  Amer" 
ican  artists,  with  war  subjects,  about  forty  examples,  completed  the 
American  exhibit. 

In  the  large  gallery  given  over  to  Great  Britain  was  the  set  of  litho" 
graphs  depicting  Britain’s  efforts  and  ideals  in  the  Great  War,  as  well 
as  notable  displays  of  the  lithographs  of  Messrs.  Frank  Brangwyn  and 
G.  Spencer  Pryse. 

One  of  the  most  interesting  galleries  in  the  exhibition  was  that  de" 
voted  to  the  lithographs  of  MM.  Lucien  Jonas,  Forain  and  Steinlen. 
Other  French  pictures  were  by  MM.  Renoir,  Hermann  Paul,  Guy 
Arnoux,  Benito  and  Abel  Faivre,  as  well  as  many  original  drawings 
by  M.  Lucien  Jonas.  Eighteen  original  cartoons  by  M.  Raemaekers  and 

[55] 


etchings  by  Messrs.  J.  C.  Vondrous  and  Gianni  Caproni  complex 
ed  the  exhibition.  Great  interest  was  manifested  in  the  etchings  by  Signor 
Caproni,  who  besides  being  the  world’s  greatest  designer  of  aeroplanes, 
is  an  etcher  of  considerable  ability  and  has  executed  a number  of  plates 
depicting  the  aerial  side  of  modern  warfare. 

XV 

With  Mr.  Thomas  Hastings  as  architect  and  Mr.  Paul  W.  Bartlett 
as  the  chief  sculptor,  a temporary  arch  was  eredted  at  Madison  Square 
and  Fifth  Avenue,  New  York,  to  do  honor  to  New  York’s  returning 
troops.  This  Victory  Arch,  about  one  hundred  and  fifty  feet  high,  was 
the  largest  arch  ever  built  in  America.  Surmounting  this  arch,  which 
was  an  excellent  piece  of  work,  was  a large  equestrian  group,  the  work 
of  Messrs.  Paul  W.  Bartlett  and  Attilio  Piccirilli.  This  group 
showed  a chariot,  drawn  by  six  horses  and  surmounted  by  a winged 
figure.  On  the  main  columns  were  panels  by  Messrs.  Daniel  Chester 
French  and  Herbert  Adams.  The  spandrils  were  by  Messrs.  Isidore 
Konti  and  Andrew  O’Connor,  while  bas-reliefs  were  by  Gertrude V. 
Whitney  [Mrs.  Harry  Payne  Whitney],  Mr.  Mahonri  Young,  and 
fourteen  other  sculptors. 

The  art  committee  of  the  Liberty  Loan  Committee  was  responsible 
for  a well-designed  Vidtory  Way  on  Park  Avenue,  New  York.  Rows 
of  Doric  columns  formed  the  two  sides  of  the  scheme.  A frieze  of  paint- 
ings supplied  a background  to  the  speakers’  rostrum.  Mr.  Arthur  Crisp 
had  a painting  of  Vidtory  in  the  center,  and  Mr.  J.  Monroe  Hewlett 
paintings  of  New  Zealand  and  Australia,  while  South  America  was 
painted  by  Mr.  Charles  S.  Chapman  and  North  America  by  Mr.  Fred- 
erick J.  Waugh.  Mr.  W.  T.  Benda  painted  Europe  and  Mr.  Arthur 
Covey  Africa.  The  color  scheme  was  the  same  in  all  of  these  paintings, 
as  well  as  the  scale,  and  this  collaboration  worked  for  harmony.  Simplic- 
itywas  the  key-note  of  this  notable  achievement.  The  same  committee 
placed  pictures  of  scenes  connected  with  the  war  in  many  of  the  prom- 
inent windows  on  Fifth  Avenue. 

[56] 


GEORGE  LUKS 
Peace  Celebration  in  New  York 


SPENCER  B.  NICHOLS 
The  Tanker 


EDWIN  H.  BLASHFIELD 
Carry  On 


SAMUEL  J.  WOOLF 

First  Aid  Station  at  Seicheprey 


JOHN  C.  JOHANSEN 

The  Launch  of  the  Watonwan 


HENRY  REUTERDAHL 

The  Destroyer  Patrol 


HENRY  REUTERDAHL 

The  Return  of  the  Victory  Fleet 


CHILDE  HASSAM 

Early  Morning  on  Fifth  Avenue,  May,  1917 


GEORGE  BELLOWS 

Murder  of  Edith  Cavell 


GEORGE  BELLOWS 

Massacre  at  Dinant 


MAXFIELD  PARRISH 

Design  for  the  Red  Cross 


© H.  W.  Sage 


MAXFIELD  PARRISH 

Design  for  the  Red  Cross : Detail 


MAXF1ELD  PARRISH 

Design  for  the  Red  Cross:  Detail 


HARRY  E.  TOWNSEND 
A Wounded  Tank 


GEORGE  HARDING 

An  American-French  Conference  in  a Wine  Cellar ; Chateau-Thierry 


WALTER  J.  DUNCAN 

Cold  Nights  Coming  On 


ERNEST  PEIXOTTO 

Troops  Leaving  Esnes,  September  23,  1918 


HARVEY  DUNN 

Kamarad — The  Sniper 


J.  ANDRE  SMITH 

On  Hill  204  — Southwest  of  Chateau-Thierry 


WILLIAM  J.  AYLWARD 

TroopsWaiting  to  Advance  at  Hatton-chatel,  Meuse  — S.  M ihiel  Drive 


WALLACE  MORGAN 

Americans  Mopping  up  in  Cierges 


'<lf 


Feed  a Fighter 

Eat  only  what  you  need  — 
cWaste  nothing  — 

That  he  and  his  family 
may  have  enough 


WALLACE  MORGAN 
Feed  a Fighter 


JOSEPH  PENNELL 

Ready  to  Start 


JOSEPH  PENNELL 

Making  Armor  Plate  ( England ) 


THAT  LIBERTY  SHALL  NOT 
PERISH  FROM  THE  EARTH 

BUY  LIBERTY  BONDS 

F O U RTH  LIBERTY  LOAN 


JOSEPH  PENNELL 

That  Liberty  Shall  Not  Perish  Jrom  the  Earth 


BOARDMAN  ROBINSON 
The  Serb 


VERNON  HOWE  BAILED 

The  Superdreadnoughts  Mew  York  and  Arizona 


o 

VERNON  HOWE  BAILEY 

The  Superdreadnoughts  New  York  and  Arizona 


THOMAS  HASTINGS 

Victory  Arch,  New  York 


PAUL  MANSHIP 

Jeanne  d’Arc  Medal 


MAHONRI  YOUNG 

One  of  the  " Buffaloes  ” 


’’ 


TOR  OUR  MEN 
*IN  CAMP  AND 

over  there' 

take  your  gifts  to 
The  public  library 


c.  B.  FALLS 
Books  Wanted 


ADOLPH  TREIDLER 

Farm  to  Win  “Over  There 


Sladami  Ojcow  Naszych 
w Szeregach  Armii  Polskiej 
za  Ojczyzne  i Wot  nose 

FOLLOWING  THE  PATHS  OF  OUR  FATHERS  IN  THE  RANKS 
OF  THE  POLISH  ARMY  FOR  MOTHERLAND  AND  FREEDOM 


W.  T.  BENDA 
For  Motherland  and  Freedom 


HENRY  RALEIGH 
Halt  the  Hun! 


HALT  the  HUN! 


KEEP  it  COMING 

>4 

We  must  not  only 
Feed  our  Soldiers 

at  the  Front  but 
the  millions  of 
women  6-  children 
behind  our  lines” 

Gen.  John  J.  Pershing 

WASTE.  NOTHING 


UNITE  D 


S TAT  E S' 


VOOD  ADMINISTRATION 


GEORGE  ILLIAN 
Keep  It  Coming 


GEORGE  WRIGHT 
Another  Ship  — Another  Victory 


ANOTHER  VICTORY 

UNITED  STATES  SHIPPING  BOARD  EMERGENCY  FLEET  CORPORATION 


GREAT  BRITAIN  AND  CANADA 


WILLIAM  ORPEN 

A Qrenadier  Quardsman 


CHAPTER  TWO 

GREAT  BRITAIN  AND  CANADA 

HE  greatest  credit  should  be  given  to  the  British  Govern' 
ment  for  the  foresight  and  judgment  displayed  in  dispatch' 
ing  artists  of  real  ability  to  France.  That  the  British  authori' 
ties  did  not  select  popular  shams  when  they  finally  decided 
to  permit  artists  to  go  to  the  front  is  as  commendable  as  it  is  astonishing. 
One  would  have  imagined  that  the  official  war  artists  would  have  been 
chosen  from  the  conservative  and  uninspired  painters  of  typical  Royal 
Academy  anecdotes.  But  nothing  of  the  sort  was  done;  on  the  contrary, 
England  sent  her  most  vigorous  and  original  men.  She  has,  in  conse' 
quence,  a very  adequate  pictorial  record  of  the  Great  War,  a record 
which  far  outstrips  that  of  any  other  country,  Canada  only  excepted. 
France  was  left  far  behind  and  the  United  States  is  nowhere  at  all.  Stress 
should  also  be  laid  upon  the  fact  that  Great  Britain  gave  her  artists  a 
free  hand  and  imposed  no  restrictions  of  any  kind  upon  them : they  were 
at  perfect  liberty  to  go  where  they  chose  and  to  do  what  they  wanted. 
This  accounts  in  large  part  for  the  excellence  of  their  work.  The  offi- 
cial American  artists,  on  the  other  hand,  lacked  proper  direction  and 
were  not  given  facilities  until  quite  late  for  carrying  on  their  functions. 

Great  Britain  chose  wisely  in  selecting  such  artists  as  Sir  William 
Orpen,  Messrs.  C.  R.  W.  Nevinson  and  Eric  H.  Kennington  to  depict 
the  activities  of  her  armies  in  France,  and  Mr.  James  McBey  to  record 
her  campaigns  in  Palestine  and  Egypt,  and  no  other  living  artist  could 

C‘33] 


have  recorded  the  environment  of  the  British  army  and  Royal  navy  as 
well  as  Mr.  Muxrhead  Bone.  Excellent,  too,  are  the  sea  paintings  of  Sir 
John  La  very.  These  artists,  to  mention  but  a few,  not  only  produced 
work  quite  worthy  of  them,  but  in  many  instances  their  art  was  actually 
broadened  and  developed  by  the  war.  Mr.  John  S.  Sargent  also  paint' 
ed  some  pictures  in  France;  one  of  them  is  entitled  Gassed,  and  shows  a 
procession  of  gasTlinded  soldiers  groping  their  way  across  a battlefield. 

The  majority  of  these  fine  works,  it  is  gratifying  to  know,  are  to  be 
deposited  in  the  Imperial  War  Museum  in  London  or  in  the  Canadian 
War  Memorials  in  Ottawa,  where  they  will  always  be  viewed  with 
interest  and  prove  a source  of  inspiration  to  coming  generations. 

II 

Under  the  auspices  of  the  Ministry  of  Information,  a representative 
selection  of  the  paintings  and  drawings,  with  a few  lithographs,  which 
were  made  for  the  Imperial  War  Museum  were  sent  to  this  country. 
The  exhibition  was  first  shown  at  the  Corcoran  Gallery  in  W ashington, 
in  January,  1919,  afterwards  coming  to  New  York,  and  then  shown 
throughout  the  country,  with  the  cooperation  of  the  Worcester  Art 
Museum.  This  exhibition,  which  comprised  two  hundred  and  forty 'one 
numbers,  gave  an  excellent  idea  of  the  pictorial  records  which  Great 
Britain  possesses  of  her  part  in  the  Great  War. 

One  hundred  and  two  of  the  total  number  of  pictures  included  in  this 
exhibition  were  paintings  and  drawings  by  Sir  William  Orpen,  who 
was  gazetted  a major  in  the  Army  Service  Corps.  This  group  of  portraits, 
studies  of  types,  of  battlefields  and  other  subjects  comprised,  I believe, 
about  onedialf  of  the  total  amount  of  work  done  by  him.  Major  Orpen’s 
series  of  portraits  of  British  officers  and  soldiers,  as  well  as  one  of  Marshal 
Foch,  are  most  dextrous  and  brilliantly  clever  pieces  of  painting.  Rapidly 
executed,  with  the  background  often  left  unfinished,  they  possess  the 
freshness  of  sketches.  I am  sure  that  all  of  Orpen’s  portraits  are  capital 
likenesses  and  also  that  he  has  got  considerable  of  the  sitters’  personals 


ties  fixed  upon  his  canvases.  Painted  with  a very  high-keyed  palette,  as 
are  the  portraits.  Major  Orpen’s  pictures  of  battlefields  and  views  of  the 
town  of  Cassel,  where  he  made  his  headquarters,  are  also  very  realistic. 
His  pencil  drawings  are  a delight  and  rank  in  technical  interest  above  the 
paintings:  but  in  spite  of  all  the  evidence  of  technical  ability  shown  in 
them,  they  are  a little  hollow  and  they  display  no  feeling.  They  appear 
cold  and  lacking  in  sympathy  when  compared  with  the  eloquent  and 
moving  lithographs  of  M.  Steinlen  and  Mr.  Pryse.  However,  posterity 
will  undoubtedly  set  a high  value  upon  all  this  splendid  work,  so  ably  ex- 
ecuted by  one  of  the  most  prolific  of  all  the  war  artists.  It  is  a record  of 
which  the  artist  may  well  feel  proud  and  which  the  British  nation  may 
congratulate  itself  upon  owning. 

No  artist  has  touched  upon  as  many  sides  of  the  war  as  Mr.  Muirhead 
Bone,  the  famous  etcher,  and  no  artist  has  given  us  more  faithful  and  ar- 
tistic records.  He  has  worked  at  the  navy  yards,  he  has  visited  the  Grand 
Fleet  and  he  has  made  many  drawings  on  the  western  front,  of  which 
latter  drawings  Field-Marshal  Sir  Douglas  Haig  has  said:  “They  illus- 
trate admirably  the  daily  life  of  the  troops  under  my  command.”  His 
draughtsmanship  is  well-nigh  faultless;  his  landscapes,  executed  in  pencil 
and  wash,  are  among  the  greatest  landscape  drawings  made  since  the 
time  of  Rembrandt,  with whose  drawings,  in  absolute  mastery  and  emo- 
tional appeal,  they  are  comparable.  Mr.  Bone’s  vision  is  always  that  of 
a true  artist;  his  line  is  most  intelligent  and  displays  great  learning,  a line 
which  is  at  once  extremely  delicate  and  full  of  great  strength  and  power. 
No  artist  has  made  a more  notable  series  of  drawings  of  the  war  than 
Mr.  Bone.  His  naval  subjects  are  miles  ahead  of  those  attempted  by  any 
other  artist. 

Mr.  James  McBey,  a Scotsman,  favorably  known  before  the  war  for 
his  beautifully  drawn  dry-points  and  water-colors,  was  sent  to  Palestine 
and  Egypt  in  his  capacity  as  official  artist  and  in  these  countries  he  made 
a great  number  of  very  sensitive  and  interesting  drawings. 

With  a commendable  spirit  of  broadmindedness  and  fairness,  Great 


Britain  also  included  among  her  official  artists  converts  to  the  teachings 
of  the  Post-Impressionists,  the  Cubists,  the  Expressionists  and  the  Futur- 
ists. Chief  among  these  artists  was  Mr.  C.  R.  W.  Nevinson,  a Futurist, 
who  has  done  some  extremely  interesting  work.  Mr.  Nevinson  has 
always  been  thoroughly  alive  and  intensely  interested  in  all  the  newer 
manifestations  of  art.  Impressionism  at  first  claimed  his  attention,  then 
Cubism  and  its  geometric  formula,  Expressionism  and  Futurism.  Out 
of  all  these  teachings  and  theories  and  influences  he  has  evolved  a style 
which  might  be  described  as  a compromise  between  Futurism  and  illus- 
tration. His  art  is  always  dynamic  and  concerned  with  synthesis  and 
abstraction.  Pattern  and  design  are  also  vital  matters  in  his  art.  Mr. 
Nevinson  was  a motor  mechanic  and  ambulance  driver  in  Flanders  the 
first  year  of  the  war ; afterwards  he  was  with  the  French  army  as  an 
hospital  orderly.  In  July,  1917,  he  was  appointed  one  of  the  official  Brit- 
ishartists.  Mr.  Nevinson  has  thus  seen  the  war  from  many  and  varied 
angles.  It  has  always  been  his  endeavor  to  get  at  the  truth : his  pictures 
are  entirely  free  from  all  music-hall  and  journalistic  heroics.  Soldiers,  I 
believe,  are  unanimous  in  their  praise  of  these  pictures,  saying  that  they 
depict  the  very  soul  of  the  war.  The  artist  has  done  considerable  flying 
and  his  paintings  of  aeroplanes  are  really  remarkable.  In  such  a litho- 
graph as  the  Swooping  on  aTaube  the  speed  of  the  ’plane  is  rendered 
in  a marvelous  manner ; the  rhythm  and  swinging  motion  that  he  gets 
into  columns  of  marching  men  is  also  very  wonderful.  From  his  darling 
paintings  Mr.  Nevinson  has  executed  lithographs  and  dry-points  of  great 
distinction.  Working  in  these  mediums,  he  has  also  made  many  equally 
engaging  compositions  of  subjects  not  connected  with  the  war.  He  is  a 
dry-pointer  possessing  considerable  skill  and  a lithographer  who  gets  a 
beautiful  lithographic  quality  into  his  drawings.  Mr.  Paul  Nash  has  suc- 
cessfully painted  the  utter  desolation  of  the  shell-torn  landscape.  Messrs. 
William  P.  Roberts,  John  Nash  and  P.  Wyndh am  Lewis  were  among 
the  other  modernists. 

Among  other  interesting  works  in  the  exhibition  sent  to  America  by 

[x36] 


the  British  Government  was  a large  study,  excellent  in  composition  and 
in  color,  of  three  soldiers  standing  before  a mass  of  ruins,  by  Major  Au- 
gustus John.  This  painting,  a finished  study  for  a large  mural  decoration 
which  the  artist  has  painted  for  the  Canadian  Government,  in  its  sim- 
plicity and  strength,  but  above  all  in  its  pale  and  reticent  color,  rather 
suggests  the  decorations  of  Puvis  de  Chavannes.  This  was  one  of  the 
most  notable  pictures  in  the  exhibition.  Several  canvases  by  Sir  John 
Lavery,  a painting  by  Mr.  George  Clausen,  a piece  of  sculpture  by  Mr. 
Jacob  Epstein,  the  only  one  in  the  collection,  lithographs  by  Messrs.  Eric 
H.  Kennington,  Frank  Brangwyn  and  G.  Spencer  Pryse,  with  other 
works  by  Messrs.  W.  B.  Adeney,  Alfred  Bentley,  John  Everett,  Colin 
W.  Gill,  C.  J.  Holmes,  Bernard  Meninsky,  William  Rothenstein, 
Henry  Rushbury,  Randolph  Schwabe  and  E.  AVerpilleux  were  also 
shown. 

Ill 

Under  the  auspices  of  the  British  Government,  a set  of  sixty-six  litho- 
graphs depicting  Great  Britain’s  efforts  and  ideals  in  the  war  was  dis- 
played in  many  parts  of  the  United  States.  A number  of  sets  were  sent 
to  this  country  to  be  exhibited  and  sold  as  propaganda.  The  idea  origi- 
nating with  the  artists  who  made  these  lithographs. 

Artistically,  the  six  prints  by  Mr.  Muirhead  Bone,  entitled  Building 
Ships  are  the  most  important,  being  most  masterly  in  execution.  Mr. 
Eric  Kenningtons  set  entitled  Making  Soldiers  is  also  very  fine  indeed. 
Mr.  Robert  Nichols,  an  English  poet,  who  served  throughout  the  war, 
quite  rightly,  I think,  says  that  Mr.  Kennington’s  drawings  are  won- 
derful portrayals  of  the  British  soldier  as  he  is — a sober  reflective  being, 
and  not  a music-hall  humorist  with  a passion  for  being  killed,  as  the 
music-halls  would  make  him  out. 

Excellent,  too,  are  the  sets  by  Mr.  Frank  Brangwyn  entitled  Making 
Sailors,  by  Mr.  George  Clausen  entitled  Making  Guns,  by  Mr.  C.  R. 
W.  Nevinson  entitled  Making  Aircraft,  by  Mr.  Charles  Pears  entitled 
Transport  by  Sea,  by  Mr.  William  Rothenstein  entitled  Work  on  the 


Land  and  by  Mr.  Claude  Shepperson  entitled  Tending  the  Wounded. 
Mr.  A.  S.  Hartrick’s  series  bearing  the  legend  Womens  Work  was 
not  so  well  drawn  as  the  others. 

The  above  lithographs  are  intended  to  illustrate  Great  Britain’s  eh 
forts  in  the  war:  the  second  part  of  the  exhibition  sets  forth  some  of 
the  ideals  for  which  she  was  fighting.  These  were  all  in  color,  with  the 
exception  of  Major  Augustus  Johns  lithograph  entitled  The  Dawn. 
Perhaps  the  most  beautiful  in  the  set  is  Mr.  Charles  H.  Shannon’s  The 
Re-birth  of  the  Arts,  in  which  Art,  unscathed,  is  seen  rising  to  her  feet 
amidst  a scene  of  desolation.  Extremely  beautiful  also,  both  in  design 
and  color,  is  Mr.  Edmund  Dulac’s  Poland,  a Nation.  The  other  litho- 
graphs  in  this  set  are  Mr.  Ernest  Jackson’s  Defense  Against  Aggres- 
sion — England  and  France — 1914,  Mr.  Charles  Ricketts’  Italia  Re- 
denta,  Mr.  Frank  Brangwyn’s  The  Freedom  of  the  Seas,  Mr.  William 
Rothenstein’s  The  Triumph  of  Democracy,  Mr.  William  Nicholson’s 
The  End  of  War,  Mr.  Maurice  Greiffenhagen’s  The  Restoration  of 
Alsace-Lorraine  to  France,  Mr.  George  Clausen’s  The  Reconstruction 
of  Belgium,  Mr.  G.  MoiRA’sThe  Restoration  of  Serbia  and  Mr.  Edmund 
J.  Sullivan’s  The  Reign  of  Justice. 

IV 

During  the  first  two  years  of  the  war  it  was  almost  impossible  for 
either  an  artist  or  a photographer  to  get  to  the  front.  Mr.  Frederic 
V illiers,  one  of  the  most  famous  of  living  war  artists,  having  covered 
practically  every  war  since  the  Franco-Prussian  War,  was  refused  per- 
mission to  work  with  the  British  armies,  but  succeeded  in  getting  per- 
mission to  sketch  with  the  French.  His  very  accurate  drawings,  as  a rule 
actually  made  on  the  spot,  many  times  in  a front-line  trench,  were  pub- 
lished in  The  Illustrated  London  J\[ews.  Mr.  Villiers  told  the  writer  of 
this  book  that  they  are  the  only  drawings  in  existence  depicting  the  first 
two  years  of  the  conflict,  which  gives  them  a very  real  value  as  historical 
records,  aside  from  their  excellent  draughtsmanship. 


Artistically  speaking,  the  British  war  posters  are  very  far  below  the 
French  in  interest,  being  for  the  most  part  but  garish  and  illy  drawn 
commercial  products,  as  were  the  American.  The  posters  of  Messrs.  G. 
Spencer  Pryse  and  Frank  Brangwyn,  whose  posters  some  years  ago 
in  the  London  “Underground”  attracted  so  much  attention  owing  to 
their  very  great  artistic  appeal,  are  the  exceptions.  Captain  Pryse1  s post- 
ers are  true  works  of  art  and  constitute  some  of  the  best  lithographs  of 
any  description  produced  during  the  war.  Such  a poster  of  his  as  that  en- 
titled The  Only  Road  for  an  Englishman,  which  shows  a regiment  of 
British  soldiers  marching  through  a ruined  town,  is  not  only  extremely 
well  drawn  and  excellent  in  composition  and  in  color,  but  it  makes  a 
very  strong  emotional  appeal.  In  addition  to  his  posters,  Captain  Pryse 
has  drawn  a great  many  auto-lithographs,  issued  in  proof  form  and  pos- 
sessing a very  beautiful  lithographic  quality.  The  strong  human  appeal  in 
all  of  these  lithographs  is  irresistible  and  accounts  in  large  part  for  their 
great  popularity;  however,  the  artistic  appeal  which  they  make  is  a real 
one, and  they  are  quite  different  from  the  story-telling  pictures  which  one 
associates  with  the  Royal  Academy.  Mr.  Brangwyn’s  posters  to  en- 
courage enlistment  in  the  navy  are  very  vigorous  compositions,  full  of 
energy  and  displaying  a keen  sense  for  the  dramatic. 

Major  Charles  Pears  has  painted  a series  of  extremely  fine  marine 
paintings,  many  of  them  being  of  camouflaged  ships.  Mr.  Glyn  Philpot 
has  painted  portraits  of  four  of  the  British  admirals,  while  Mr.  Francis 
Dodd  has  made  pencil  drawings,  colored  with  water-color,  of  twelve: 
these  latter  are  beautifully  drawn. 

In  touching  upon  the  war  pictures  which  have  been  made  by  British 
artists,  one  must  certainly  not  neglect  to  mention  the  humorous  and  racy 
sketches  made  at  the  front  by  Captain  Bruce  Bairnsfather.  His  three 
favorite  characters,  who  appear  in  most  of  his  drawings,  Old  Bill,  Alf 
and  Bert,  were  great  favorites  among  both  the  soldiers  at  the  front  and 
the  people  at  home.  These  three  famous  characters  have  had  a very  suc- 
cessful play  written  around  their  exploits. 


V 

The  Canadian  War  Memorials  Funa  was  founded  in  order  that  every 
phase  of  Canada’s  operations,  both  in  Canadian  training  camps  and  on 
the  battlefields  of  France,  might  be  properly  recorded. 

The  idea  for  this  form  of  memorial  originated  with  Lord  Rothen 
mere,  former  British  Air  Minister  and  Lord  Beaverbrook,  head  of  the 
Canadian  War  Records  Office  and  former  Minister  of  Information.  Mr. 
Paul  G.  Konody  was  appointed  art  director,  which  positionhehasheld 
since  the  inception  of  the  Memorial,  in  the  summer  of  1917. 

In  organising  the  scheme,  as  is  pointed  out  in  the  foreword  to  the 
catalogue  of  that  portion  of  the  pictures  which  was  shown  in  London 
and  in  New  York  [i9i9j,“the  committee  throughout  endeavored  to  do 
equal  justice  to  the  claims  of  history  and  of  art.  Historical  accuracy  has 
been  secured  by  the  timely  dispatch  of  a band  of  distinguished  artists 
to  the  fighting  front.  To  ensure  artistic  success  the  committee  worked 
out  a schedule  of  subjects  embracing  every  sphere  of  Canadian  war 
preparation  and  war  activity  exemplified  by  typical  scenes,  each  one 
being  entrusted  to  the  artist  whose  past  achievements  pointed  most  clean 
ly  to  his  ability  to  do  full  justice  to  his  task.  These  artists  were  selected 
in  the  most  catholic  spirit,  to  represent  every  school  and  group.  This 
series  of  decorative  panels  was  thought  out  in  connection  with  an  an 
chitectural  scheme  which  is  to  form  a suitable  and  imposing  framework 
for  the  pictures,  so  that  they  will  present  themselves  as  an  impressive 
ensemble  in  orderly  sequence.  Around  this  nucleus  of  vast  decorative 
panels  has  been  built  up  a comprehensive  collection  of  minor  paintings, 
drawings  and  engravings  of  war  subjects,  portraits  of  generals,  states' 
men  and  Canadian  V.  C.’s,  works  of  sculpture,  and  a historical  section 
of  early  English  paintings  and  engravings,  directly  connected  with 
Canadian  history.” 

Among  the  latter  paintings,  it  is  interesting  to  note,  are  Romney’s  pon 
trait  of  Joseph  Brant,  the  celebrated  “sachem”  of  the  Mohawk  Indians, 
Reynolds’s  portrait  of  Sir  Jeffrey  Amherst,  Lawrence’s  portrait  of  Sir 


Alexander  Mackenzie  and  West’s  painting  entitled  The  Death  of 
Wolfe. 

Majors  Augustus  John,  D.  Y.  Cameron,  Richard  Jack  and  J.  Kerr 
Lawson  were  the  first  artists  to  be  sent  to  the  front  by  the  Canadian 
War  Memorials.  Major  John’s  painting,  which  will  dominate  the  mag- 
nificent  building  which  is  to  be  erected  in  Ottawa  to  house  this  col- 
lection, is  a large  decorative  canvas  measuring  forty  by  ten  feet.  Mr. 
Konody  describes  it  in  the  following  words:  “John’s art  is  always  syn- 
thetic. He  is  not  an  illustrator.  He  goes  for  the  typical,  not  the  inciden- 
tal. His  subject  is  not  any  particular  episode,  but  a summary  of  all  he 
has  seen,  of  all  that  has  stirred  his  imagination  and  his  sympathy  dur- 
ing his  five  months  at  the  front.  His  picture  may  be  described  as  an 
epitome  of  modern  war.”  Major  Cameron  painted  an  impression  of  the 
featureless  plains  of  Flanders  and  Major  Jack  pictures  of  the  second  bat- 
tle ofYpres  and  of  the  attack  made  on  Vimy  Ridge  on  the  9th  of  April, 
1917.  Major  Lawson  showed  in  his  paintings  the  ruins  ofYpres  and 
Arras. 

Mr.  C.  R.W.  Nevinson  painted  one  of  the  exploits  of  Major  Bishop, 
Canada’s  greatest  airman,  and  a series  of  four  panels  entitled  The  Roads 
of  France,  illustrating  the  progress  of  the  fighting  force  from  the  base  to 
the  front  line.  Mr.  A.  J.  Munnings  painted  a series  of  fifty  small  paint- 
ings of  Canadian  cavalry  and  lumbermen,  pictures  of  marked  excellence 
and  most  spirited.  Other  important  pictures  of  events  connected  with  the 
war  were  painted  by  Lieutenants  A.  Y.  Jackson  and  Algernon  Tal- 
mage,  Gunner  W.  Roberts,  Lieutenant  Paul  Nash,  and  Mr.  Leonard 
Richmond,  to  mention  but  a few  of  the  fifty  or  more  other  artists  en- 
gaged in  this  work.  Portraits  of  military  and  civil  personages  of  distinc- 
tion were  painted  by  Mr.  Charles  H.  Shannon,  Major  Ambrose  Mc- 
Evoy,  Mr.  Harold  Knight,  Sir  William  Orpen,  and  numerous  other 
portrait  painters  of  great  reputation. 

In  addition  to  the  pictures  painted  in  the  fighting  zone,  Canada  also 
possesses  a valuable  series  of  paintings  and  drawings  showing  the  making 


of  the  soldier  in  Canada  and  all  the  other  activities  at  home.  Mr. 
Arthur  Lismer  has  painted  records  of  things  going  on  at  Halifax:  Mine 
sweeping,  convoying,  patrolling  and  harbor  defense.  Miss  Mabel  May 
went  to  the  munition  works  in  Montreal,  where  women  and  girls  labored 
unceasingly.  Mr.  Manly  MacDonald  chose  woman  s work  on  the 
land  as  his  subject.  Mr.  Francis  H.  Johnston  went  to  the  Toronto  Fly- 
ing Schools  and  Mr.  R.  F.  Gagen  painted  a shipbuilding  picture  in 
Toronto  Bay.  Lieutenant-Commander  Norman  Wilkinson  painted  a 
spirited  canvas  showing  the  great  fleet  which  carried  the  First  Canadian 
Division  across  to  England  at  the  outbreak  of  the  war.  I have  merely 
chosen  a few  examples  to  illustrate  the  interesting  and  comprehensive 
manner  in  which  this  side  of  the  work  was  accomplished. 

Sculpture,  it  should  be  noted,  was  executed  by  Captain  F.  Derwent 
Wood  and  M.  I.  Mestrovic. 

The  following  comments  on  the  Canadian  War  Memorials,  and  on 
war  memorials  in  general,  are  taken  from  an  anonymous  article  pub- 
lished in  Canada  in  Khaki.  I am  so  in  accord  with  the  writer  s views 
on  this  subject  that  I have  ventured  to  quote  him  at  some  length : 

“The  idea  of  an  artistic  war  memorial  is  generally  connected  with 
a winged  and  laurel-crowned  confection  in  marble  and  bronze,  erected 
on  some  prominent  site  for  the  edification  or  derision,  as  the  case  may 
be,  of  future  generations.  Or,  if  it  takes  a pictorial  form,  it  is  apt  to  be 
a series  of  unconvincing,  melodramatic  illustrations,  more  or  less  fanciful, 
of  famous  episodes  or  individual  acts  of  heroism,  that  are  of  little  artistic 
and  absolutely  no  documentary  or  historical  value.  Who  can  pass 
through  the  endless  galleries  of  battle  pictures  at  Versailles  without 
experiencing  a sense  of  invincible  boredom?  A war  memorial  of  this 
kind,  if  it  is  to  be  of  lasting  value,  if  it  is  to  teach  future  generations,  to 
stir  their  imagination,  to  stimulate  their  patriotic  feeling,  must  be  a thrill- 
ing record  of  facts,  based  on  personal  experience. 

“If  a pictorial  record  of  this  greatest  of  all  wars  is  to  be  of  perma- 
nent value,  it  must  be  created  from  actual  impressions  whilst  they  are 

i>q 


fresh  on  the  mind,  whilst  emotions  and  passions  and  enthusiasms  are  at 
their  highest.  A ‘posthumous’  war  picture  is  as  valueless  as  a posthu" 
mous  portrait.  . . . Art  remains  to  teach  posterity  of  the  glorious  part 
of  the  race,  and  to  keep  alive  the  flame  of  patriotism.  Our  whole  knowh 
edge  of  civilizations  that  have  vanished  long  since — Egypt,  Babylonia, 
Chaldaea,  and  so  forth — is  derived  from  the  scanty  artistic  records  that 
have  been  saved  from  the  destruction  of  Time  and  War.  The  visual 
evidence  of  one  fragment  of  art  teaches  us  more,  and  more  tellingly  and 
rapidly,  than  whole  volumes  of  erudition.” 

Australia  also  had  her  official  artists  to  depict  her  achievements,  as 
well  as  men  in  the  ranks  who  recorded  their  impressions.  These  artists, 
who  worked  in  Palestine  and  Egypt,  as  well  as  in  France,  made  many 
hundred  paintings  and  drawings  of  marked  excellence.  Some  of  the  best 
of  these  pictures  are  by  Lieutenants  F.  R.  Crozier,  G.  W.  Lambert,  A. 
Streeton  and  S.  J.  Lamorna  Birch.  Lieutenant  Lamberts  paintings  of 
the  tragedies  attending  the  Gallipoli  campaign  are  particularly  well 
painted. 


I 


WILLIAM  ORPEN 
Horses  Near  Aubigny 


WILLIAM  ORPEN 

Bringing  in  a Wounded  Tommy 


WILLIAM  ORPEN 
The  Qas  Mask 


WILLIAM  ORPEN 

The  Big  Critter,  No.  2 


WILLIAM  ORPEN 

South  Irish  Horse 


MUIRHEAD  BONE 
A British  Tank 


- 


MUIRHEAD  BONE 
H.  M.  S.  Vindictive  after  Zeebrugge 


I 

; 

, 


A Shipyard  Scene 


MUIRHEAD  BONE 

Ready  for  Sea 


JAMES  Me  BEY 

Entry  of  the  Allies  into  Jerusalem 


JAMES  Me  BEY 

Water  Transport 


-V 


JAMES  Me  BEY 

Detraining  a Howitzer  by  Moonlight 


C.  R.  W.  NEVINSON 
That  Cursed  Wood 


« 


C.  R.  W.  NEVINSON 
After  a Push 


C.  R.  W.  NEVINSON 

The  Road  from  Arras  to  Bapaume 


C.  R.  w.  NEVINSON 
Swooping  on  a Taube 


JOHN  LAVERY 

A Coast  Defense 


PAUL  NASH 

Sunrise : Inverness  Copsi 


ERIC  KENNINGTON 

A Lewis  Qunner  of  a Yorkshire  Regiment 


CHARLES  PEARS 

Maintaining  Oversea  Forces 


EDMUND  DULAC 

Poland,  A Nation 


CHARLES  H.  SHANNON 

The  Re-birth  of  the  Arts 


V 


FRANK  BRANGWYN 
The  Lookout 


FRANK  BRANGWYN 

Put  Strength  in  the  Final  Blou > 


G.  SPENCER  PRYSE 

The  Fall  of  Ostend 


G.  SPENCER  PRYSE 

The  Wayside  Crucifix  — Belgium,  1914 


through  Darkness  THE  ONLY  ROAD  Through  Fiqhiing 

FOR  AN  ENGLISHMAN  ° 


G.  SPENCER  PRYSE 
The  Only  Road  for  an  Englishman 


G.  SPENCER  PRYSE 

The  Retreat  of  the  Seventh  Division  and  Third  Cavalry  on  Ypres 


•PS**' 


G.  SPENCER  PRYSE 

Belgium,  1914 


JACOB  EPSTEIN 
The  Tin  Hat 


■RCFjraMHHm 


■£i% 


NORMAN  WILKINSON 

Canada’s  Answer 


I 


A.  J.  MUNNINGS 

Horses  Watering  near  Domart 


. 


D.  Y.  CAMERON 

Flanders  from  Kemmel 


LEONARD  RICHMOND 

Canadian  Railway  Construction  in  France 


P.  WYNDHAM  LEWIS 

Canadian  Qunpic 


FRANCE 


L'AISNE  bEVASTEE 


OEUVRE  DE  GUERRE  POOR  LA  RECONSTiTUTiON 

DE5  FOYERS  DETRUiTS 


LES  SOUSCRIPTiONS 


SONT  RECUES 


AU 


L-  APPEL 


Frere.  regorde  et  l/s . la  Fortune  est res  tee 
Tranquillement. 

Assise  a tonfoyer  'eft  A/sne  est  deuastee 
par  FAHemand / 

0 Mi sere / ODouleur'ODeuil'Ie  cceur  du  marbre 
J omollirait  f 

Reqardepks  de pierre  au  village. plus  darbre 
Dans  lojoret / 


Plus  dftomme  a le/ob/i,  de  Verge  a la  Cbopelle. 
Den  id  au  tod 

Vois  cede  ueuue  oup  deup  enfonts  je  leroppellc 
Que  rest pour  loi! 

Ouure  les  coffre  Jorls  el  les  humbles  sacoehes 
iljout  des  dons  / 

//  leresle  del  or  ou  des  sous,  dans  fespoches 
Nous  a Hendons! 


SIEGE  SOCiAL 

129,BA-D  MALESHERBES 

PARiS 


Imp  .H.CHACHOIN . Pa  ft  IS 


Ultions  "L  A GUERRE  “HO.  Avenue  Victor-  Hugo  PARIS  - V/St  It' 109*9 


TH.  A.  STEINLEN 

L’Aisne  Devastee 


CHAPTER  THREE 

FRANCE 

T was  in  France  that  the  lithograph  first  became  a recognised 
medium  for  artistic  expression.  Gericault  and  Delacroix 
made  many  strong  drawings,  to  be  followed  in  the  thirties 
by  the  great  Daumier,  a marvellous  draughtsman  and  the 
king  of  caricaturists.  In  the  sixties  notable  lithographs  were  made  by 
Manet,  Barye  and  Millet.  The  most  perfed:  expressions  of  Fantin-La- 
tour’s  sensitive  art  are  to  be  found  in  his  lithographs,  enchanting  prints 
which  rank  with  the  masterpieces  of  the  art.  In  many  cases  Fantin  first 
drew  his  lithograph  and  from  it  made  his  painting,  the  lithograph  in- 
variably being  the  more  spontaneous  and  charming.  Later  came  the  pen- 
etrating lithographs  of  Toulouse-Lautrec,  who  was  another  master,  and 
one  who  successfully  introduced  color  into  his  prints,  as  well  as  Degas, 
whose  lithographs  only  became  generally  known  when  his  cohesions 
were  dispersed  in  Paris,  shortly  after  his  death.  MM.  Foraxn  and  Stein- 
len,  the  greatest  draughtsmen  in  France  to-day,  are  doing  much  of  their 
finest  work  on  the  lithographic  stone. 

Since  the  artistic  possibilities  of  the  lithograph  were  thus  so  splen- 
didly developed  in  France,  it  is  not  surprising  to  find  that  so  many  of 
her  artists  choose  the  lithograph  as  their  medium  for  recording  the 
events  of  the  Great  War.  As  a matter  of  fact,  the  most  artistic  and 
important  pictorial  records  made  in  France  are  to  be  found  in  her  post- 
ers and  in  the  powerful  lithographs  in  black  and  white  by  MM.  Stein- 

t>31] 


len,  Forain  and  Lucien  Jonas.  I believe  these  lithographs  to  be  greater 
works  of  art  than  the  drawings  and  paintings  by  her  official  artists,  for 
in  an  inimitable  and  masterly  fashion  they  express  the  soul  of  the  great 
French  nation  and  put  before  us  in  a vivid  manner  her  undaunted  coun 
age  and  devotion  to  la  Patrie. 

II 

The  drawings  and  etchings  of  M.  Steinlen  possesslthe  very  scent  and 
flavor  of  Paris.  They  are  as  typically  Parisian  as  the  drawings  of  Row' 
landson  are  essentially  English  and  the  pictures  of  Goya  reek  of  the  soil 
of  Spain. 

With  much  pertinence  M.  Steinlen  has  been  called  the  Millet  of  the 
streets,  for  in  his  studies  of  the  toiling  workers  of  Paris,  of  the  artists  and 
of  the  destitute,  we  find  the  same  understanding  that  we  find  in  the 
peasants  of  Millet.  In  Steinlen  we  see  always  a profound  sympathy 
with  suffering  humanity  and  tenderness  towards  the  oppressed  and  urn 
fortunate,  learned  through  a long  familiarity  with  the  inhabitants  of  the 
various  poorer  quarters  of  Paris. 

M.  Steinlen’s  artistic  output  has  been  enormous:  his  pencil  is  nearly 
as  active  as  was  Daumier’s.  And  always  this  gifted  pencil  has  been  wield' 
ed  on  the  side  of  justice;  many  times  has  he  fought  battles  for  the  op' 
pressed.  In  his  history  of  painting,  Major  Haldane  Macfall  says  that 
M.  Steinlen  is  “one  of  the  giants  of  his  age,  a man  who  has  bettered  the 
world,  lifted  his  generation,  and  brought  honor  to  his  great  people.”  His 
drawings  for  Gil  Bias  and  illustrations  for  the  books  of  Coppe,  de  Mau' 
passant,  Anatole  France,  Bruant,  the  cabaret  singer,  and  chansons  em 
titled  Dans  la  Route,  as  well  as  for  many  other  publications,  are  num' 
bered  by  the  thousand.  Extremely  beautiful  are  his  lithographs  for  Cham 
son  de  Montmartre  and  full  of  character  his  Des  Chats;  no  one  has 
drawn  a cat  as  well  as  M.  Steinlen. 

With  such  an  artistic  equipment  and  with  such  a profound  sympa' 
thy  with  suffering  humanity,  it  was  but  natural  that  M.  Steinlen  should 
throw  himself  heart  and  soul  into  depicting  events  connected  with  the 


terrible  war.  He  more  than  rose  to  the  occasion  and  in  a succession  of 
posters,  drawings,  lithographs  and  etchings  he  has  preserved  for  poster' 
ity  a magnificent  and  unequalled  record  of  the  nobility  of  character  and 
bravery  displayed  by  the  French  race,  as  well  as  the  appalling  distress 
wrought  upon  that  valiant  people.  With  profound  understanding  and 
sympathy  he  has  gone,  sketch-book  in  hand,  to  the  railway  station  where 
the  wounded  are  arriving,  he  has  gone  to  the  devastated  town,  he  has 
stood  by  the  roadside  as  the  soldiers  marched  by.  An  etching  shows  us 
several  badly  wounded  men  being  carried  from  the  battlefield  under  fire: 
it  is  called  The  Escape  from  Hell.  A lithograph  has  for  its  subjedt  a pro- 
cession of  old  people  and  little  children  and  babies  leaving  a German 
jail.  Another  lithograph  is  of  a group  of  soldiers  lustily  singing  as  they 
march  down  the  road. 

Ill 

M.  Forain  is  as  caustic  and  unrelenting  in  his  realism  as  was  Degas. 
In  addition,  he  is  a satirist  and  one  that  shares  with  the  caricaturist  the 
joy  of  dwelling  upon  peculiarities  of  human  make-up  and  delving  into 
the  science  of  physiognomy:  but  he  only  emphasises,  whereas  the  cari- 
caturist exaggerates. 

M.  Forain  has  gone  to  the  halls  of  justice,  to  the  opera  and  to  the 
glittering  restaurants  in  search  of  material,  while  M.  Steinlen  has  con- 
cerned himself  with  the  artists  in  the  Montmartre  district,  with  the 
humble  toilers  of  Paris  and  with  the  vagabonds  who  dwell  in  the  re- 
gions of  the  fortifications.  Taken  together,  their  drawings  preserve  for 
posterity  an  excellent  pictorial  record  of  the  manners  and  customs  ex- 
isting in  Paris  during  their  time;  this  record  will  be  of  inestimable  value 
to  the  political  and  social  historian  of  the  future. 

The  drawings  of  M.  Forain  are  always  immensely  entertaining  and 
exciting,  and  for  the  artist  they  are  most  stimulating  companions.  Degas 
always  liked  to  have  a lot  of  them  around.  Voltaire  was  right  when  he 
defined  a bore  as  one  who  said  everything;  no  one  has  ever  been  bored 
by  a drawing  by  M.  Forain. 


M.  Forain’s  interest  is  in  the  essentials,  which  he  always  emphasises, 
and  his  economy  of  means  is  nothing  short  of  marvellous.  He  faithfully 
records  an  incident,  strong  in  characterisation,  with  a dosen  strokes  of 
the  pen.  His  drawings,  etchings,  lithographs  and  paintings  are  brilliantly 
clever  in  execution,  but  they  are  far  more  than  that:  they  disclose  a 
knowledge  and  a learning  that  is  profound.  Drawing,  Ingres  has  said, 
does  not  consist  only  of  lines,  but  is  much  more — expression,  the  inner 
form,  the  structure,  the  modeling.  Daumier  and  Degas  were  M.  Forain’s 
artistic  nourrices,  but  he  is  absolutely  original  and  his  work  could  never 
be  mistaken  for  that  of  another  man.  His  line  is  alive  and  even  more 
telling  and  full  of  character  than  that  of  the  greatest  Japanese. 

It  was  inevitable  that  M.  Forain,  like  M.  Steinlen,  should  have  been 
completely  absorbed  by  the  war  and  it  was  likewise  a foregone  conchi" 
sion  that  the  war  would  react  upon  him  and  his  art  in  a powerful  manner. 
A set  of  perhaps  a hundred  and  fifty  lithographs  of  events  and  scenes 
connected  directly  with  the  war  rank  with  his  most  brilliant  achieve" 
ments.  How  gripping  and  how  moving  is  such  a drawing  as  his  litho" 
graph  entitled  Forward ! and  how  extraordinary  is  the  draughtsmanship ! 

IV 

M.  Lucien  Jonas,  who  before  the  war  was  known  as  a painter  and 
an  illustrator,  is  a younger  man  than  either  M.  Steinlen  or  M.  Forain 
and  is  an  artist  who  has  come  into  prominence  since  1914.  The  war 
brought  him  inspiration  and  developed  his  art.  He  has  made  innumen 
able  drawings  at  the  front  of  types,  as  well  as  portraits  of  generals,  most 
of  them  quite  interesting.  However,  it  is  a set  of  twentyTour  lithographs 
entitled  The  Heroic  Soul  of  France,  as  well  as  many  other  stirring  prints 
of  this  description,  that  displays  the  artist’s  gifts  in  their  full  maturity. 
M.  Jonas  is  not  to  be  classed  with  such  artists  as  MM.  Steinlen  and 
Forain,  for  he  does  not  possess  their  great  artistic  endowments,  but  his 
drawings  are  probably  more  popular  with  the  masses  than  either.  Mr. 
Duncan  Phillips  has  written:  “They  are  compounded  of  the  heart  stuff 
[224] 


of  which  people’s  prayers  are  made  in  times  of  need.  This  is  the  secret 
of  their  success  with  the  French  people  to-day.  M.  Jonas  explains  to 
them  their  own  fighting  idealism.”  One  of  the  lithographs  in  the  set 
which  shows  the  heroism  of  France  is  entitled  A Volunteer,  which 
is  not  only  the  best  of  the  series,  but  also  one  of  the  most  inspiring 
drawings  which  the  war  has  brought  forth.  An  officer  of  the  famous 
Blue  Devil  regiment  is  seen  calling  for  a volunteer  to  perform  some  par- 
ticularly hazardous  duty — and  every  man  within  sight  springs  forward 
for  the  privilege  of  giving  his  life,  if  need  be,  to  France.  Another  print 
shows  a blind  chaplain  struggling  along  a rough,  shell-swept  highway 
carrying  on  his  back  a paralysed  soldier,  who  endeavors  to  direct  his 
course.  Yet  another  print  is  of  a much  bandaged  soldier  who  has  been 
taken  prisoner  by  the  Germans  and  is  being  interrogated  by  two  offi- 
cers. One  of  these  officers,  a revolting  looking  beast,  holds  a revolver 
almost  against  the  forehead  of  the  prisoner,  who  looks  him  in  the  eye 
and  replies  to  his  question:  “I  shall  tell  nothing.” 

V 

Lieutenant  Henri  Farre  has  painted  some  of  the  most  remarkable 
and  authoritative  of  all  the  war  pictures  which  have  been  made.  He  has 
depicted  the  part  played  by  the  French  aviators  in  the  war  and  he  has 
painted  it  most  graphically  and  in  a beautiful  manner.  At  the  outbreak 
of  the  war  he  was  painting  portraits  in  Buenos  Aires,  but  immediately 
went  to  France  and  offered  his  services  to  his  country.  He  was  attached 
to  the  Escadrille  de  Bombardement  with  the  rank  of  Observer-Bombar- 
dier and  subsequently  flew  over  all  parts  of  the  Western  Front.  His 
most  interesting  paintings,  executed  in  all  cases  from  notes  made  as  he 
flew  and  painted  immediately  upon  landing,  have  been  exhibited  in  many 
parts  of  the  United  States. 

VI 

Under  the  auspices  of  the  French  High  Commission,  several  hundred 
intimate  and  delightful  sketches  by  French  soldier-artists  were  exhibited 


in  many  parts  of  the  United  States  during  the  years  of  1918  and  1919. 

Quite  a large  group  of  drawings  in  wash  and  charcoal,  with  a few  in 
color,  were  the  work  of  M.  Georges  Scott,  the  well-known  illustrator. 
His  sketches  and  drawings,  well  executed  and  full  of  fire,  are  scenes  in 
the  trenches  and  on  the  battlefield.  One  is  called  Gloire  au  Soldat  de 
France,  another  Offensif  en  Champagne,  another  Patrols.  A beautiful 
drawing  in  pen-and-ink  and  water-color  entitled  Watchers  at  the  Foot 
of  Tofana  shows  two  men  in  a trench,  a high  mountain  covered  with 
snow  being  in  the  background.  Some  very  strong  water-color  studies  of 
soldiers  both  back  of  the  lines  and  in  the  trenches,  were  by  M.  Renefer. 
Other  excellent  drawings  of  soldier  types  were  by  M.  Bernard  Naudin 
and  M.  Rogerde  Valerio.  Amusing  little  lithographs  of  children  play- 
ing soldier  were  by  M.  Poulbot.  Other  good  drawings  were  by  MM. 
Lucien  Jonas  and  A.  Boisfleury.  Mr.  Royal  Cortissos  well  summed  up 
the  impression  conveyed  by  these  delectable  sketches  when  he  wrote: 
“It  is  not,  indeed,  of  artistic  ambition  at  all  that  we  are  conscious  as  we 
survey  these  souvenirs  of  the  war.  It  is,  instead,  of  everyday  human 
traits,  of  brave  men  relieving  an  intolerable  routine  with  unpretentious 
artistic  excursions,  dashing  off  slight  memoranda  of  dreary  scenes,  affirm- 
ing not  so  much  dexterity  of  hand  as  a simple  manly  courage.” 

Early  in  1919  a collection  of  seventy-seven  paintings  by  French  ar- 
tists, twenty-five  in  number,  were  placed  on  view  in  one  of  the  New 
York  galleries.  They  were  the  work  of  M.  E.  Louis  Gillott,  official 
artist  of  the  French  army,  M.  Charles  Fouqueray,  official  painter  of  the 
Musee  de  Y Armee,  several  pupils  at  the  Ecole  des  Beaux-arts  and  other 
artists.  But  few  of  them  possessed  very  great  interest. 

Hundreds  of  small  drawings,  mostly  in  water-color,  the  work  of  for- 
mer students  of  the  Ecole  des  Beaux-arts,  were  sent  to  America  to  be 
sold  for  the  benefit  of  the  families  of  artists  who  had  been  wounded  or 
killed  in  the  war.  Many  of  these  sketches  were  extremely  well  drawn. 
This  excellent  work  was  carried  out  by  Mr.  Henry  Renwick  Sedgwick, 
of  New  York. 


Thirty  paintings  by  M.  Jean  Gautier,  representing  personal  expe' 
riences  of  the  artist  in  the  battles  of  Verdun  and  the  Marne,  were  shown 
in  New  York  in  March,  1919,  and  proved  to  be  fairly  interesting. 

Many  fine  and  spirited  drawings  by  MM.  Francois  Flameng, 
Charles  Huard  and  Georges  Scott,  all  official  artists,  have  appeared 
in  the  pages  of  L’ Illustration. 

VII 

As  was  to  be  anticipated,  the  finest  war  posters  have  come  from 
France,  where  the  artistic  poster  was  originally  conceived  and  brought 
to  great  perfection.  It  has  been  well  said  that  the  inspiring  French  war 
posters  are  “an  intimate  expression  of  the  greatest  convulsion  in  the 
history  of  civilisation.1’ 

None  of  the  French  posters  have  been  more  effective  or  artistic  than 
those  of  M.  Steinlen:  his  designs  are  masterpieces  of  poster  craft,  simple, 
straightforward  drawings,  of  which  the  lettering  is  by  him  and  forms 
an  integral  part,  and  posters  which  serve  their  purpose  well  by  telling 
their  story  in  an  unmistakable  and  forceful  manner.  In  his  poster  en- 
titled  L’Aisne  Devastee,  which  is  an  appeal  for  funds  for  a charity  in' 
terested  in  the  reconstruction  of  destroyed  homes,  we  see  a young 
mother  grasping  her  two  small  children  to  her  side.  A completely  ru' 
ined  house  in  the  background  completes  the  picture,  the  pathos  of  which 
surely  could  have  been  rendered  by  no  one  else  as  well  as  M.  Steinlen. 
In  La  Triennale,  a poster  designed  to  advertise  an  exposition  of  French 
art  held  for  the  benefit  of  the  Fraternite  des  Artistes,  we  perceive  the 
magnificent  and  undaunted  figure  of  an  older  and  bearded  soldier  gating 
at  a man  ploughing  with  a pair  of  great  white  oxen,  preceded  by  a figure 
of  Victory.  Other  superbly  drawn  figures  of  the  invincible  French  sob 
diers  appear  in  a poster  entitled  Concert  en  Grange  and  Pendant  Qu’Ar' 
sene  se  Bat,  while  in  a poster  issued  by  the  Serbian  Relief  we  have  a 
most  tragic  procession  of  halfistarved  refugees. 

M.  Forain’s  poster  entitled  Le  Vetement  du  Prisonnier  de  Guerre 
contains  the  figure  of  a seated  soldier,  a prisoner,  engaged  in  writing, 


using  his  right  knee  as  a table.  The  drawing  of  this  soldier  has  been  done 
in  a most  masterly  fashion;  technically,  indeed,  the  war  produced  noth' 
ing  finer  than  this.  Another  superb  drawing  by  M.  Forain  appears  on 
the  poster  issued  for  a charity  known  as  Le  Bon  Feu. 

No  artist  of  France  has  had  the  war  react  on  his  art  in  a more  inter' 
esting  way  than  “Sem,”  the  famous  caricaturist.  He  designed  two  post' 
ers  which  take  the  highest  rank  among  all  the  posters  produced  during 
the  war.  His  two  posters  entitled  Pour  le  dernier  quart  d’heure  . . . 
and  Pour  le  triomphe  souscrivez,  a Temprunt  national  are  simply  mag' 
nificent.  In  the  former  print  we  see  a general  with  his  aides  watching 
a regiment  of  soldiers  march  by,  over  a field  spotted  with  shelbholes; 
in  the  latter  a symbolical  view  of  the  Arc  de  Triomphe  which  fairly 
breathes  the  spirit  of  ardent  patriotism. 

Full  of  fire  and  spirit  and  splendidly  drawn  is  M.  Abel  Faivre’s  post' 
er  entitled  On  les  aura!  issued  for  the  second  government  loan,  which 
shows  a youthful  soldier  apparently  just  going  “over  the  top.”  It  is  one 
of  the  finest  of  all  the  war  posters.  Another  stirring  design  by  M.  Abel 
Faivre  is  his  poster  bearing  the  legend  L’Or  Combat  Pour  LaVictoire, 
in  which  the  cock  on  an  enormous  twenty 'franc  piece  is  springing  out 
to  attack  a crouching  German  soldier. 

Other  excellent  posters  are  M.  Georges  Scott  s Pour  le  Drapeau! 
Pour  la  Victoire ! M.  Willette’s  Journees  Girondines  and  M.  Poulbot  s 
N’oublie  pas  de  souscrire  . . . pour  la  Victoire! . . . et  le  retour!  to  mem 
tion  but  a few  more  of  the  many  excellent  posters  which  have  been 
produced  in  France. 

MM.  Guy  Arnoux,  Benito  and  Hermann  Paul  have  made  some 
most  interesting  drawings  to  commemorate  certain  events  of  the  war, 
such  as  the  arrival  of  the  American  troops  in  France  and  the  work  of 
the  American  Red  Cross.  These  charming  designs,  which  are  issued 
singly,  have  been  drawn  after  the  manner  of  old  French  woodcuts  and 
broadsides  and  are  printed  in  color. 


I>8] 


-«<*** 


J.  L.  FORAIN 
The’  Prisoner  (from  a Poster) 


FORAIN 
Forward ! 


, 

■ ; , ;;  ' ft 


J.  L.  FORAIN 
What  ? Not  Even  a Child  ! 


J.  L.  FORAIN 
h is  a Neutral 
Ah!  . . . 1 Breatht 


TH.  A.  STEINLEN 
Aid  to  the  Wounded 


TH.  A.  STEINLEN 
Under  the  Boot 


L£  PKEMIER  CONCERT  EN  GRANGE  A ETE 

oonne  a5omme-5uippes  LelwNovbr'  I9I4. 


E.RT 

en  Grange 

du 

XVII?  C.A 


TH.  A.  STEINLEN 

Concert  en  ( grange 


. 


MLA  TRIEIN  INALE 


EXPOSITION  D'ART  FRANCAIS 
AO  PROFIT  DE  LA  "FRATERNITY  des  ARTISTES 


SALLE  du  JEU  dePAUME 
TERRASSEdesTUILERIES 
du  2 Mars  au15  Avril1916 

de  9 Heures  du  Matin 

ALA  TOMBEE  DU  «J  O U 

Vernissage,  le  1 1 Mars 

O O m i t e : 

MM  Albert  BESNARD.  L. BONNIER.  L. BOUCHARD. 
Maurice  CHABAS.  J.  CHERET.  F.R.  CARABIN,^ 
Raphael  COLLIN.  F.  CORMON.  C.COTTET,  J.  DAMPT. 
A.DECHENAUD,  C.DESPIAU.  G.DESVALLIERES.Mt  Helene  DUFAU, 
M.M.  FORA  IN.  FRANTZ- JOURDAIN. Charles  GUERIN. 
GUIRAND  DE  SCEVOLA,  HARPIGNIES.HENRI  MARTIN. 
F.HUMBERT,R. LALIQUE,  Ernest  LAURENT.EE^ 
L.  LEGRAN  D,  A.  LEPEf^E,  LE  SIDANER  Maurice  DEN  IS, 
A.MERCIE.CbarlesPLUMET.RENOIR.C.RIVAUD.  RODIN, 

f.sabatTe.sTeinlen.vuillard.willetTe^ 


TH.  A.  STEINLEN 
La  Tricnnalc 


TH.  A.  STEINLEN 

Leaving  the  Qerman  Jail 


LUCIEN  JONAS 
A Volunteer 


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LUCIEN  JONAS 

Portraits  of  Qeneral  Pershing 


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LES  HYMNES  ALLIES 


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HERMANN  PAUL 
The  American  Hymn 


JPa ysans  lie  trance,  saloons  levs  soliiats  tie  la  Iibre  Amerupie  ijin  viennent  par  millions  mcler  lenr  sang  a 


ivc'i  le  ilroif  ill-  cnltiver  not  tv  dm  nip  et  pour  cmpecher  les  barLares  lie  nous 
ravir  les  liliertcs  composes. » 


BENITO 

For  the  Beautiful  Land  of  France 


JLJES  E/LtMQW/ES/RS  ME  E/1  MMMWE 


LlflFiAlfllE  GAASSET  iil  RUE  OEr,  S A tN  1 PE  HE  G.  PAHIS 


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BENITO 

The  Conquerors  of  the  Marne 


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aucune  souffrance  lie  laisse  incliffereiite  laC  roix-Rouee  amencame. 

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BENITO 

The  Heart  of  America 


' 


HENRI  FARRE 

Bombing  Nancy 


ANTONIN  MERCIE 
Plaque tte  de  la  Fraterni t'e  des  Artistes 


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DEVAMBEZ,  IMP.  PAKIS 


JSMrKliN  I NATIONAL  SONT  REVUES  A LA 

NATIONALE  DE  CREDIT 

VISA.  N*  I'jvot 


“SEM” 

Pour  le  Dernier  Quart  d’Heure 


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r? af/ona£ 

LEsSoUSCRIPTiONS  SONT  ReQUES  A Paris  ET  EN  Province 


A LA 


BANQUE  NATIONALE  « CREDIT 


“SEM” 

Pour  le  Triomphe  Souscrivez  a I'Emprunt  National 


™ sSEVLi\™PRUpNT  NATIONAL 

RAMAnc  \r  PARIS  ET  EIN  p«»vmci 

NATIONALE  de  credit 


VISA  _ N?  o 406 


GEORGES  SCOTT 
Pom  lc  Drapeau ! Pnur  la  Victoire! 


I 


✓ 


(fh  L> 


OUAJX^ 


2!EMPRUNT 

DE 

la  DEFENSE  NAT10NALE 


OtVAMBEZ  IMF  PA,ilS 


ABEL  FAIVRE 

On  les  Aura! 


TOUR.  LA  I RANGE 

VERSEZ  VOTRE  OR 


EOr  Combat  Pour  LaAMoire 


i i>m  »*\K  i \ '<  :- 

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ABEL  FAIVRE 

L ’Or  Combat  Pour  La  Victoirc 


Au  pRofit  ExcusifoES  du«s  de  Cberre  Dll  Departement 

BF.VAMBE7.  IMP  PARIS 


ADOLPHE  W1LLETTE 

Journees  Qiromlines 


EM  PRU NT  la  DEFENSE  NATIONAL! 


PUBLIE  SOUS  LES  AUSPICES  DE  LA  FEDERATION  NATIONALE  DE  LA  MUTUALITE  FRANCAISE 
QUI  FAIT  APPEL  A TOUS  LES  TRAVAI  LLEURS.  A TOUS  LES  PREVOYANTS  ATOUS  LES  PATRIOTES 
POUR  LA  LIBERATION  DU  TERRITOIRE  ET  LA  VICTOIRE  FINALE. 


FRANC1SQUE  POULBOT 

— N’  'oublie  pas  de  souscrire  . . . pour  la  Victoire!  . , . et  le  retour! 


I 


THE  NETHERLANDS 


LOUIS  RAEMAEKERS 

Cleansing  the  Temple 


LOUIS  RAEMAEKERS 

The  American  Army  in  France — The  Relief 


BIBLIOGRAPHY 

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Art  and  the  War.  By  Duncan  Phillips.  Illustrated.  The  American  Magazine  of  Art 
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American  Artists  and  the  War.  By  A.  E.  Gallatin.  Valentine's  Manual  (New 
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A Check  List  of  the  Literature  and  Other  Material  [Including  Posters  and 
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bell Dodgson  and  C.  E.  Montague.  2.  Sir  John  Lavery.  With  introductions  by 
Robert  Ross  and  C.  E.  Montague.  3.  Paul  Nash.  With  introductions  by  John  Salis 
and  C.  E.  Montague.  4.  Eric  Kennington.  W ith  introductions  by  Campbell  Dodgson 
and  C.  E.  Montague.  Each  part  illustrated  with  colored  plates.  London ; Country 
Life,  Ltd.,  and  George  Newnes,  1918. 

Drawings  by  James  McBey,  Official  Artist  in  Palestine.  By  Malcolm  C.  Salaman. 
Illustrated.  The  International  Studio  (New  York),  March,  1918. 


British  Artists  at  the  Front.  No.  i.  Sir  William  Orpen.  Caricature,  in  colors,  by- 
Max  Beerbohm.  Reveille  (London),  August,  1918. 

The  Canadian  War  Memorials.  By  P.  G.  Konody.  Illustrated.  Colour  Magazine  (Lon* 
don),  September,  1918. 

Sir  William  Orpen’s  War  Pictures.  By  Sir  Frederic  Wedmore.  Illustrated.  The  Inter' 
national  Studio  (New  York),  September,  1918. 

Artists  at  the  Front.  No.  1.  Major  Augustus  John.  Caricature,  in  colors,  by  Max 
Beerbohm.  Reveille  (London),  November,  1918. 

Reproductions  of  Drawings  by  Official  Australian  Artists.  The  Graphic  (London), 
14  December,  1918. 

War  Paintings  and  Drawings  by  British  Artists.  Catalogue.  Foreword  by  Raymond 
Wyer.  Introduction  by  Christian  Brinton.  Illustrated.  New  York:  British  Bureau 
of  Information,  1919. 

Artists  at  the  Front.  No.  3.  John  Sargent.  Caricature,  in  colors,  by  Max  Beerbohm. 
Reveille  (London),  February,  1919. 

Canadian  War  Memorials  Exhibition.  Catalogue.  London : Canadian  War  Records 
Office,  1919. 

The  Great  War.  Depicted  by  Distinguished  British  Artists.  Illustrated.  London : The 
Studio,  1919. 

British  War  Pictures.  By  Duncan  Phillips.  Illustrated.  The  American  Magazine  of 
Art  (Washington),  March,  1919. 

Canadian  War  Pictures  on  Exhibition.  Illustrated.  English  Spea\ing  World  (New 
York),  July,  1919. 

Dazzle  Painting  in  War-time.  By  Hugh  Hurst.  Illustrated.  The  International  Studio 
(New  York),  September,  1919. 

FRANCE 

Drawings  by  Official  French  Artists.  Reproduced  in  U Illustration  (Paris),  1914-1918. 

Quelques  Oeuvres  du  Front.  Illustrated.  Les  Arts  (Paris),  No.  171 ; 1918. 

La  Guerre.  Par  Steinlen.  By  Camille  Mauclair.  Illustrated.  Numero  Special  L’Art  et 
les  Artistes  (Paris),  1918. 

The  Heroic  Soul  of  France — Lucien  Jonas’  War  Lithographs.  By  Duncan  Phillips. 
The  American  Magazine  of  Art  (Washington),  October,  1918. 


THIS  book  has  been  set  by  Bertha  M.  Goudy  from  types  and 
decorations  designed  by  Frederick  W.  Goudy  and  printed  in 
the  shop  of  William  E.  Rudge,  New  York  City.  The  engravings 
were  made  by  the  Beck  Engraving  Company,  New  York  City. 


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